
































THE J. PAUL GETTY MUSEUM LIBRARY 








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GILBERT STUART 


AN ILLUSTRATED DESCRIPTIVE 
LIST OF HIS WORKS 
COMPILED BY LAWRENCE PARK 


WITH AN ACCOUNT OF HIS LIFE 
BY JOHN HILL MORGAN 
AND AN APPRECIATION 

BY ROYAL CORTISSOZ 


VOL. I 





NEW YORK 
WILLIAM EDWIN RUDGE 
1926 














“ 
* a 


THE PUBLISHERS WISH TO EXPRESS THEIR INDEBTEDNESS  __ 
TO WILLIAM SAWITZKY, MRS. E. HADLEY GALBREATH, JOHN 


HILL MORGAN AND THEODORE BOLTON, FOR BRINGING HIS | 


a 


COPYRIGHTED sth BY. ee ie a 
The Pc House of William Edwin Rudge, New Yr ork 


DEDICA TION, 


oa 
THE AUTHOR GRATEFULLY DEDICATES THESE VOLUMES 
TO ALL THOSE WHO HELPED HIM 


IN HIS WORK 





Copyright, Bachrach 


LAWRENCE PARK 


LAWRENCE PARK 
1873-1924 


HE man whose deep interest and intense work for more than ten 

years has made the publication of these volumes possible, was not 
allowed to see their completion: Mr. Lawrence Park passed to his rest 
on September 28, 1924, at Groton, Massachusetts. Through his death 
the small group of acknowledged authorities on early American paint- 
ing lost a member who, in the opinion of many, had the most thorough 
and critical knowledge of Colonial and early Republican portraiture. 
Equipped with all the faculties of mind and intellect necessary for re- 
search work in the field of art, with an unusual capacity for detail and 
with an intuition that hardly ever failed him, Lawrence Park accumu- 
lated a knowledge which comes to its finest manifestation in his present 
catalogue raisonné. It is the most exhaustive work ever compiled dealing 
with the creations of an American artist and all the more remarkable as 
it was done by a man who could give only part of his time to the task and 
who toward the end, when illness was undermining his strength, needed 
all the courage of a great heart. 

Lawrence Park was born in Worcester, Massachusetts, December 16, 
1873, the son of Doctor John Gray Park and Elizabeth Bigelow (Law- 
rence) Park. He traced his descent from William Park of Glasgow, 
Scotland; on his father’s side his ancestors had lived in Groton since 
1756, while on his mother’s side he was descended from John Lawrence, 
who settled in Groton in 1665. He attended a private school in Worces- 
ter and entered Harvard University in 1892. The fall and winter of 


5 


LAWRENCE PARK 


1896-97 were passed in the School of Drawing and Painting in the 
Museum of Fine Arts at Boston. From 1897 to 1901 he was an archi- 
tectural draughtsman in the offices of a well-known firm, and in 1901 
he established himself as an architect in Boston. In 1905 he married 
Maria Davis Motley, daughter of Colonel Thomas Lawrence Motley 
and Charlotte Elizabeth (Rhoades) Motley, and a grandniece of John 
Lothrop Motley, the historian. 

It was in 1914, while writing a genealogy of “Major Thomas Savage 
of Boston and His Descendants” (first published in the “New England 
Historical and Genealogical Register,” Vols. 67 and 68, and reprinted 
by David Clapp & Son of Boston; 77 pages and 14 plates) that Lawrence 
Park became interested in family portraits. This interest, no doubt, had 
for along time been latent in him, but now it began to assume the char- 
acter of an all-absorbing passion. He began to collect data on all the 
early American portrait painters and to make pencil sketches of their 
work, which are remarkable in their grasp of the subtleties of facial 
characteristics. His research work soon brought him in contact and cor- 
respondence with kindred spirits, particularly with the late Charles 
Henry Hart of Philadelphia and New York, Frank W. Bayley of Boston, 
Mantle Fielding of Philadelphia, and John Hill Morgan of New York. 

Lawrence Park’s next publication dealt with Joseph Badger (1708- 
1765), rescuing that portrait painter from obscurity and ascribing to 
him in a very carefully compiled descriptive list seventy-six portraits, 
most of which were formerly attributed to Blackburn, Smibert and 
Copley. (First published in the “Proceedings of the Massachusetts His- 
torical Society,” December, 1917; reprinted by the University Press, 
Boston, 1918; 45 pages and 7 plates.) 

He next turned his attention to “Joseph Blackburn, a colonial por- 


b) 


trait painter,” cataloguing and describing eighty-eight pictures and 


6 


LAWRENCE PARK 


giving Blackburn his deserved place in American painting. (Printed in 
the “Proceedings of the American Antiquarian Society” for October, 
1922, republished by the Society in 1923; 62 pages and 6 plates.) 
These three publications and occasional other contributions to our 
knowledge of that particular phase of American art established Law- 
rence Park asa scholar of high degree. He combined the power of ana- 
lytical observation with the rare gift of intuition, he was able to pay 
attention to most minute details without losing his sensitiveness for the 
ultimate spirit. His qualities were recognized and in 1917 he became a 
member of the corporation of the Worcester Art Museum, in 1919 he 
was made curator of Colonial Art in the Cleveland Museum. Before that 
he had already become a member of the American Antiquarian Society, 
the Massachusetts Historical Society, the New England Historic- 
Genealogical Society, the Massachusetts Society of Colonial Wars, the 
Society for the Preservation of New England Antiquities, the Bunker 
Hill Monument Association, the Bostonian Society, and the Groton 
Historical Society. In 1921 he accompanied as an expert the expedition 
sent by the Frick Art Reference Library of New York City into Virginia 
for a survey of early American portraits, and the following year he ac- 
companied another expedition of the Library into South Carolina. His 
word pictures in the form of letters from these trips and the pencil pic- 
tures in his sketchbooks show how much he enjoyed the individuality 
and charm of those states and their quaint towns. He noticed and studied 
everything: early architecture and heraldry, names and customs, paint- 
ings and furniture, gardens, birds and flowers. It was after his return 
from this second trip that his health began to fail, but while confined to 
his house, and finally to his room, he kept on working. The genuine 
interest of his family and friends in his work and the willingness of the 
many owners of Stuart portraits to co-operate, must have been a source 


fi 


LAWRENCE PARK 


of deep satisfaction to him. To his letters of inquiry, replies from all 
parts of this country and from abroad came to the little Massachusetts 
town, where the mind of a dying man was building a monument to one 
of America’s greatest artists. 

Lawrence Park was a man of fine personality and character, of dignity 
and charm. No word that can be said in his praise could be a greater 


honor to him than his own work. 
WILLIAM SAWITZKY 


CONTENTS 


LAWRENCE PARK . 


VOLUME I 


A SKETCH OF THE LIFE OF GILBERT STUART . 


GILBERT STUART, THE ARTIST 


FIRST PERIOD——LIFE IN RHODE ISLAND 


SECOND PERIOD—LIFE IN ENGLAND AND IRELAND 


THIRD PERIOD—LIFE IN AMERICA . 


CHRONOLOGY . 


TECHNICAL NOTE ON THE PAINTING OF GILBERT STUART 


DESCRIPTIVE LIST OF THE PORTRAITS BY GILBERT STUART 


Ll 
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18. 


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JOHN ADAMS 
JOHN ADAMS 
JOHN ADAMS 
JOHN ADAMS 
JOHN ADAMS 
JOHN ADAMS 


. MRS. JOHN ADAMS 
. JOHN QUINCY ADAMS 

. JOHN QUINCY ADAMS 

. MRS. JOHN QUINCY ADAMS 
. ANDREW ALLEN 

. JEREMIAH ALLEN 

. WASHINGTON ALLSTON 

. FISHER AMES 

. FISHER AMES 

. JOHN AMORY 

. MRS. JOHN AMORY 


JONATHAN AMORY 


. MRS. THOMAS AMORY 

. THOMAS AMORY 

. THOMAS COFFIN AMORY 

. RICHARD ANNERSLY 

. CAPTAIN JOSEPH ANTHONY 
. CAPTAIN JOSEPH ANTHONY 
. CAPTAIN JOSEPH ANTHONY 
. JUDGE JOSEPH ANTHONY, JR. 
. MRS, JOSEPH ANTHONY, JR. 


89 
90 
90 
gI 
92 
92 


28. 
29. 
30. 
ah. 
22. 
- LORD AND LADY ASHBURTON 
COLONEL JOHN BAPTISTA ASHE 
- SIR CROPLEY ASHLEY-COOPER 

«- WILLIAM ASPINWALL 
» JOHN JACOB ASTOR 

+ JOHN JACOB ASTOR 

- CHARLES HUMPHREY ATHERTON 
- MRS. ROBERT NICHOLLS 


JOSEPH ANTHONY, 3RD 
NATHAN APPLETON 

MRS. NATHAN APPLETON 
MRS. JAMES ARDEN 
JOHN ARMIT 


AUCHMUTY 


- ADAM BABCOCK 
- MRS. ADAM BABCOCK 
- COMMODORE WILLIAM 


BAIN BRIDGE 


SIR HENRY LORRAINE BAKER 
+ JOSEPH BALL 

- JOHN BANNISTER 

- MRS. JOHN BANNISTER AND 


HER SON 


- JOHN BARCLAY 

» MRS. JAMES BARD 

- SIR WILLIAM BARKER 
- SIR WILLIAM BARKER 


PAGE 


109 
109 
IIO 
III 
112 
113 
113 
114 
I15 
8 Y 
118 
119 


120 
120 
121 


122 
123 
125 
126 


127 
128 
128 
129 
129 


CONTENTS 


PAGE 


LADY BARKER 130 
COLONEL ISAAC BARRE 130 
COLONEL ISAAC BARRE 132 
MRS. BRYAN BARRETT 132 
ADMIRAL SAMUEL BARRINGTON 133 
MISS ANN BARRY 133 
. JAMES DAVID BARRY 134 
COMMODORE JOHN BARRY 134 
MISS MARY BARRY 135 
MISS ANN BARTLETT 135 
. JOHN BARTLETT, M.D. 136 
MRS. JOHN BARTLETT 1 
MARIA BARTLETT 138 
. THOMAS BARTLETT, M.D. 139 
MRS, THOMAS BARTLETT 140 
MRS. EBENEZER BATTELLE I4I 
MRS. NICHOLAS BAYARD Pa cS 
WILLIAM BAYARD 142 
DOCTOR RICHARD BAYLEY 143 
MISS CLEMENTINA BEACH 144 
. STEPHEN BEAN 145 
DEAN BEATSON 146 
EARL OF BECTIVE 146 
JUDGE EGBERT BENSON 146 
JUDGE EGBERT BENSON 147 
RIGHT HONORABLE JOHN 
BERESFORD 148 
DOCTOR GEORGE BETHUNE 150 
MRS. GEORGE BETHUNE 150 
. ANNE LOUISA BINGHAM 151 
WILLIAM BINGHAM 152 
. WILLIAM BINGHAM 152 
MRS. WILLIAM BINGHAM 153 


MRS WILLIAM BINGHAM AND HER 
DAUGHTER MARIA MATILDA I54 


MRS. WILLIAM BINGHAM 155 
HONORABLE HORACE BINNEY 156 
MARY BINNEY 157 
MRS. SAMUEL BLODGET 158 
MRS. SAMUEL BLODGET AND 
DAUGHTER 159 
JEROME BONAPARTE 159 
MADAME JEROME BONAPARTE 160 
NATHAN BOND 162 


MRS. NATHAN BOND 
PHINEAS BOND 


KIRK BOOTT 2 


ELIZABETH BEALE BORDLEY 


MRS. LEONARD VASSALL BORLAND 


NATHANIEL BOWDITCH 

JAMES BOWDOIN 

MRS, JAMES BOWDOIN 

JAMES TEMPLE BOWDOIN 

MRS. JAMES TEMPLE BOWDOIN 
GENERAL BOWLES 

JOHN BOYDELL 

JOSIAH BOYDELL 

WARD NICHOLAS BOYLSTON 
WARD NICHOLAS BOYLSTON 


- WARD NICHOLAS BOYLSTON 


HUGH HENRY BRACKENRIDGE 


» JOSIAH BRADLEE 


MRS. JOSIAH BRADLEE 
MRS. SAMUEL BRECK 
MRS. OLIVER BREWSTER 
MRS. JOHN BROMFIELD 
GOVERNOR JOHN BROOKS 
PETER CHARDON BROOKS 
PETER CHARDON BROOKS 
MOSES BROWN 

MOSES BROWN 

JOHN BROWNE 


163 
163 
164 
165 
166 
167 
168 
169 
169 
170 
170 
170 
171 
172 
173 
174 
175 
176 
176 
177 
178 
178 
179 
180 
181 
181 
182 
183 


THE RIGHT HONORABLE WILLIAM 


BROWNLOW 
REVEREND JOSEPH STEVENS 
BUCKMINSTER, D.D. 


- REVEREND JOSEPH STEVENS 


BUCKMINSTER, D.D. 
COMTE DE BUFFON 
DOCTOR JOHN BULLUS 
MRS. JOHN BULLUS 
SIR FRANCIS BURDETT 
AARON BURR 
AARON BURR 
THEODOSIA BURR 
REVEREND CHARLES 

BURROUGHS, D.D. 
BENJAMIN BUSSEY 


183 
184 


185 
186 
187 
188 
189 
189 
190 
191 


193 
194 


CONTENTS 


PAGE PAGE 

133. MRS. BENJAMIN BUSSEY 195 175. MRS. NATHANIEL COFFIN 228 
134. BENJAMIN BUSSEY, JR. 196 176. MRS. JAMES SMITH COLBURN 229 
135. ADMIRAL SIR ROBERT CALDER 197 177. JONATHAN COLLINS 230 
136. JOHN CALLENDER 198 178. JAMES CONNOR 230 
137. THOMAS CALLENDER ® £99 179. WILLIAM KERIN CONSTABLE 241 
138. GEORGE CALVERT 199 180. WILLIAM KERIN CONSTABLE 232 
139. MRS. GEORGE CALVERT AND I8I. DANIEL CONY 39% 

DAUGHTER CAROLINE 200 182. SIR FRANCIS NATHANIEL PIER- 
140. JOHN CAMPBELL 200 PONT BURTON CONYNGHAM 234 
I4I. HUGH CARLETON 201 183. SIR WILLIAM BURTON 
142. EARL OF CARNARVON 202 CONYNGHAM 235 
143. ARCHBISHOP JOHN CARROLL 203 184. SIR WILLIAM BURTON 
144. MRS. SAMUEL CARY 204 CONYNGHAM 236 
145. WALTER CHANNING 206 185. GEORGE FREDERICK COOKE 236 
146. MRS. WALTER CHANNING 206 186. JOSEPH COOLIDGE 237 
147. REVEREND WILLIAM ELLERY 187. JOSEPH COOLIDGE 257 

CHANNING 207 188. THOMAS APTHORPE COOPER 238 
148. QUEEN CHARLOTTE OF ENGLAND 208 189. JUDGE WILLIAM COOPER 239 . 
149. JUDGE SAMUEL CHASE 209 190. JOHN SINGLETON COPLEY 240 
I50. COMMODORE ISAAC CHAUNCEY 209 I9I. THOMAS CORDIS 241 
I5I. COLONEL JOHN CHESNUT 210 192. MRS. THOMAS CORDIS 242 
152. COLONEL JOHN CHESNUT 212 193. MRS. COTTRINGER 242 
153. COLONEL JAMES CHESNUT, SR. 212 194. MRS. WILLIAM CRAIG 242 
154. MRS. JAMES CHESNUT 213 195. ALLEN CROCKER 243 
155. JOHN CHEVERUS | 214 196. MATILDA CAROLINE CRUGER 244 
156. WARD CHIPMAN 215 197. WILLIAM CUMBERLAND 
157. MRS. WARD CHIPMAN 216 CRUIKSHANK 245 
158. WARD CHIPMAN, JR. 216 198. MRS. JOSEPH LEWIS 
159. GENERAL MATHEW CLARKSON 217 CUNNINGHAM 246 
160. EUSEBY CLEAVER 218 199. CURTIS 246 
I61. THOMAS CLEMENT, SENIOR 219 200. MRS. THOMAS CUSHING 247 
162. SIR HENRY CLINTON 2.20 201. GEORGE WASHINGTON PARKE 
163. LADY CHARLOTTE CLIVE 220 CUSTIS 248 
164. VISCOUNT CLONMELL 220 202. RICHARD CUTTS 248 
165. MRS. HENRY CLYMER 221 203. MRS. RICHARD CUTTS 249 
166. MRS. HENRY CLYMER Dil} 204. MRS.CHARLES WILLIAM DABNEY 250 
167. MR. COBB 34 205. ALEXANDER JAMES DALLAS 251 
168. MRS. COBB 222 206. MRS. ALEXANDER JAMES DALLAS 252 
169. GENERAL DAVID COBB 222 207. DOCTOR SAMUEL DANFORTH 253 
170. CAPTAIN GEORGE COCKBURN 224 208. THOMAS, BARON DARTREY 254 
I7I. CHARLES RUSSELL CODMAN 225 209. COUNT ANDRE DASCHKOFF 255 
I72. CHARLES RUSSELL CODMAN 225 210. AARON DAVIS 255 
173. ADMIRAL SIR ISAAC COFFIN 2.26 211. MRS. AARON DAVIS 256 


174. DOCTOR NATHANIEL COFFIN 227 212. GENERAL AMASA DAVIS 257 


CONTENTS 


PAGE PAGE 
213. MRS. CALEB DAVIS 258 250. Two DoGs (SPANIELs) 290 
214. CHARLES DAVIS 259 251. DOGS AND WOODCOCKS 291 
215. MRS. CHARLES DAVIS 260 252. MRS. SULLIVAN DORR 292 
216. MRS. ELEANOR DAVIS 261 253. MRS. HAMMOND DORSEY 292 
217. MRS. ISAAC P. DAVIS AND HER 254. COLONEL WILLIAM DUANE 293 
SISTER, MRS. BERNARD HENRY 261 255. MARCHIONESS OF DUFFERIN 294 
218. MRS. ISAAC P. DAVIS AND HER 256. COUNSELLOR JOHN DUNN 294 
SISTER, MRS. BERNARD HENRY 263 257. COUNSELLOR JOHN DUNN 295 
219. WILLIAM DAVIS 263 258. COUNSELLOR JOHN DUNN 296 
220. MRS. WILLIAM DAVIS 264 259. SAMUEL DUNN 296 
221. COLONEL THOMAS DAWES 265 260. MRS. SAMUEL DUNN 297 
222. JUDGE THOMAS DAWES 266 261. MARIA CORNELIA DURANT 298 
223. JAMES MASSY DAWSON 267 262. FRANCIS LOWELL DUTTON 298 
224. MAJOR-GENERAL HENRY _ 263. MRS. WARREN DUTTON 299 
DEARBORN 268 264. MARQUES D’YRUJO 300 
225. MAJOR-GENERAL HENRY 265. MARQUES D’YRUJO 301 
DEARBORN 269 266. MARQUES D’YRUJO 301 
226. MAJOR-GENERAL HENRY 267. MARCHIONESS D’YRUJO 302 
DEARBORN 270 268. MARCHIONESS D’YRUJO 303 
2277. MAJOR-GENERAL HENRY ALEX- 269. MARCHIONESS D’YRUJO 303 
ANDER SCAMMELL DEARBORN 271 270. RICHARD EARLOM 303 
228. MRS. HENRY ALEXANDER 271. MISS MARY HARRISON ELIOT 304 
SCAMMELL DEARBORN 272 272. MISS MARY HARRISON ELIOT 305 
229. COMMODORESTEPHEN DECATUR 273 273. SAMUEL ELIOT 306 
230. COMMODORESTEPHEN DECATUR 274 274. SAMUEL ELIOT 306 
231. MRS. STEPHEN DECATUR a5 275. MRS. SAMUEL ELIOT 307 
232. ABISHA DELANO 276 276. WILLIAM HAVARD ELIOT 308 
233. MRS. ABISHA DELANO 276 277. JOHN STEVENS ELLERY 309 
234. THOMAS DENNIE De 278. JAMES HENDERSON ELLIOT 309 
235. MRS. THOMAS DENNIE 278 279. DAVID MONTAGUE, BARON 
236. CHEVALIER D’EON 278 ERSKINE 310 
237. CAPTAIN JOHN DERBY 279 280. HONORABLE MRS. ERSKINE QE 
238. MRS. RICHARD M. DERBY 281 28I. HONORABLE MRS. ERSKINE 3x2 
239. HUMPHREY DEVEREUX 281 282. HONORABLE THOMAS ERSKINE 313 
240. MRS. HUMPHREY DEVEREUX 282 283. WILLIAM EUSTIS 314 
241. VISCOUNT DE VESCI 283 284. MRS. ALEXANDER HILL EVERETT 315 
242. EARL OF DEVON 284 285. EDWARD EVERETT 315 
243. ANDREW DEXTER 285 286. EDWARD EVERETT 316 
244. MRS. ANDREW DEXTER 286 287. ALEXIS EVSTAPHIEVE 317 
245. SAMUEL DEXTER 286 288. MRS. ALEXIS EVSTAPHIEVE 317 
246. SIR JOHN DICK (OF BRAID) 287 . 289. GEORG SIGMUND FACIUS 318 
2417. LADY DICK 288 290. JOHANN GOTTLIEB FACIUS 319 
248. SAMUEL DOGGETT 289 291. SAMUEL FALES 319 


249. MRS. SAMUEL DOGGETT 290 292, EARL OF FARNHAM 320 


293. 
294. 
295. 
296. 
297. 
298. 
299. 
300. 
301. 
302. 
303. 
304. 
305. 
306. 
307. 
308. 
309. 
310. 


Sri. 
Rr. 


313. 


314. 
315. 
316. 


317. 
318. 


319. 


320. 
g2a. 
R22. 
H23. 
R24. 
A25. 
326. 
391. 
328. 
329. 
330. 
331. 


CHARLES FARRAN 

MRS. CHARLES FARRAN 
GENERAL JOHN R. FENWICK 
EDWARD, LORD FITZGERALD 
JOHN, LORD FITZGIBBON 
MRS. SIMEON FLINT 

COUNT FLUKE 

MRS. JAMES FORD 

EDWIN FORREST 

MRS. JOHN FORRESTER 


CONTENTS 


321 
321 
321 
329 
324 
325 
326 
326 
327 
327 


RIGHT HONORABLE JOHN FOSTER 328 


DOCTOR JOHN FOTHERGILL 
THOMAS WILLING FRANCIS 


329 
330 


MRS. THOMAS WILLING FRANCIS 331 


COLONEL ISAAC FRANKS 
REVEREND JAMES FREEMAN 
ALBERT GALLATIN 
LEONARD GANSEVOORT 
GENERAL PETER GANSEVOORT 
REVEREND JOHN SYLVESTER 
JOHN GARDINER 
REVEREND JOHN SYLVESTER 
JOHN GARDINER 
HENRY FARINGTON GARDNER 
SAMUEL PICKERING GARDNER 
MRS. SAMUEL PICKERING 
GARDNER 
GENERAL HORATIO GATES 
SAMUEL GATLIFF 
MRS. SAMUEL GATLIFF AND 
DAUGHTER ELIZABETH 
CAPTAIN JOHN GELL 
GEORGE III OF ENGLAND 
GEORGE IV OF ENGLAND 
ELBRIDGE GERRY 


JAMES THOMPSON GERRY,U.S.N. 
THOMAS RUSSELL GERRY, U.S.N. 


GEORGE GIBBS, SR. 

GEORGE GIBBS, SR. 

MRS. GEORGE GIBBS, SR. 

COLONEL GEORGE GIBBS 

COLONEL AQUILA GILES 

GOVERNOR WILLIAM BRANCH 
GILES 


331 
332 
333 
sao 
335 


337 


338 
338 
339 


340 
340 
342 


342 
343 
344 
345 
345 
346 
346 
346 
347 
348 
348 
349 


350 


AR. 
333. 
334. 
335. 
336. 
337: 
338. 
339- 
340. 
341. 
342. 
343- 
344. 
345. 
346. 
347: 
348. 
349. 
350. 
Op 
252. 
353: 
354- 
355. 
356. 
357- 
358. 
359. 


360. 


361. 
462. 
363. 
364. 


365. 
366. 
x67. 
368. 
369. 
370. 
371. 
372. 


ROBERT GILMOR 

ROBERT GILMOR 

ROBERT GILMOR 

MRS. CHARLES GOLDSBOROUGH 
MRS. JOHN GORE 

ISAAC GOUVERNEUR 
MAJOR JOSEPH GRAFTON 
MRS. JOSEPH GRAFTON 
SIR ALEXANDER GRANT 
PATRICK GRANT 
PATRICK GRANT 


WILLIAM GRANT OF CONGALTON 


HENRY GRATTAN 

MRS. MICHAEL GRATZ 

JOHN CHIPMAN GRAY 

WILLIAM GRAY 

WILLIAM GRAY 

MRS. WILLIAM GRAY 

WILLIAM RUFUS GRAY 

JAMES GREENLEAF 

JAMES GREENLEAF 

MRS. JAMES GREENLEAF 

MRS. JAMES GREENLEAF 

MRS. JAMES GREENLEAF 

MRS. JAMES GREENLEAF 

DAVID STODDARD GREENOUGH 

DAVID STODDARD GREENOUGH 

DAVID STODDARD GREEN- 
OUGH, JR. 

MRS. DAVID STODDARD GREEN- 
OUGH, JR. 

CYRUS GRIFFIN 

SAMUEL GRIFFIN 

ROBERT EGLESFIELD GRIFFITH 

MRS. ROBERT EGLESFIELD 
GRIFFITH 

ALEXANDER VIETS GRISWOLD 

WILLIAM HALE 

JOHN HALL 

MRS. HALLAM 

ROBERT HALLOWELL 

JAMES MOORE HALSEY 

GEORGE HAMILTON 

MRS. GEORGE HAMILTON 


PAGE 


351 
352 
353 
354 
354 
355 
355 
356 
357 
357 
358 
358 
359 
360 
361 
362 
363 
364 
365 
365 
366 
367 
368 
369 
369 
369 
370 


371 


371 
372 
iS 
374 


375 
376 
376 
sm 
378 
378 
379 


Se 
380 


373: 
374. 
375: 
376. 


377: 
378. 


379: 
380. 


381. 
382; 
383. 
384. 
385. 
386. 
387. 
388. 
389. 
390. 
AGI. 
392. 
393. 
394- 
395: 
396. 
397: 
398. 


399. 
400. 


401. 
402. 
403. 
404. 
405. 
406. 
407. 
408. 
409. 
410. 


4Il. 


412. 
413. 
Ald. 


CONTENTS 


HUGH HAMILTON 

MRS. HUGH HAMILTON 

GEORGE HAMMOND 

ROBERT HARE, SR., AND HIS 
DAUGHTER MARTHA 

MRS. THOMAS LEADER HARMAN 

RICHARD HARRISON 

DOCTOR WILLIAM HARTIGAN 

MRS. WILLIAM HARTIGAN 

CAPTAIN JOHN HARVEY 

MERCY SHIVERICK HATCH 

JOHN HAVEN 

MRS. JOHN HAVEN 

NATHANIEL APPLETON HAVEN 

JUDAH HAYS 

MRS. LEMUEL HAYWARD 

HEAD OF AN UNKNOWN CHILD 

JOSEPH HEAD 

JOHN HEARD 

JAMES HEATH 

GEORGE HEATHCOTE 

JOHN HENDERSON 

JOHN HENDERSON 

MRS. BERNARD HENRY 

MRS. BERNARD HENRY 

ZACHARIAH HICKS 

STEPHEN HIGGINSON 

ANNE OUTRAM HINCKLEY 

DAVID HINCKLEY 

JOSIAH OGDEN HOFFMAN 

JOHN HOLKER 

MRS. JOHN HOLKER 

REVEREND HORACE HOLLEY 

JOSEPH GEORGE HOLMAN 

JOHN WILLET HOOD 

ROBERT HOOPER 

MRS. ROBERT HOOPER 

JOSEPH HOPKINSON 

MRS. JOSEPH HOPKINSON 

CHANCELLOR SIR BEAUMONT 
HOTHAM 

GENERAL GEORGE HOTHAM 

DOCTOR JOHN HOTHAM 

ADMIRAL WILLIAM HOTHAM 


381 
382 
382 


383 
384 
385 
385 
386 
387 
388 
389 
390 
391 
392 
393 
394 
394 
375 
396 
396 
Seal 
398 
398 
399 
400 
401 
402 
402 
403 
404 
405 
405 
407 
407 
408 
408 
409 
410 


AII 
412 
412 
413 


AIS. 
416. 
417. 
418. 


419. 
420. 
421. 
422. 
4334. 
424. 
425. 
426. 
427. 
428. 
429. 
430. 
431. 
432. 
433. 


434. 
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DOCTOR JOHN CLARKE HOWARD 
MRS. JOHN CLARKE HOWARD 
CHRISTOPHER HUGHES 
VICE-ADMIRAL SIR EDWARD 
HUGHES 
COMMODORE ISAAC HULL 
COMMODORE ISAAC HULL 
GENERAL WILLIAM HULL 
GENERAL DAVID HUMPHREYS 
OZIAS HUMPHRY 
OZIAS HUMPHRY 
MRS. WILLIAM HUNT 
REVEREND JOSEPH HURLBUT 
MISS ELIZABETH INCHES 


“MISS ANN IZARD 


FRANCIS JAMES JACKSON 

MRS. FRANCIS JAMES JACKSON 

GENERAL HENRY JACKSON 

MRS. WILLIAM JACKSON 

REVEREND SAMUEL FARMAR 
JARVIS 

DON JOSEF DE JAUDENES Y 
NEBOT 

DONA JOSEF DE JAUDENES Y 
NEBOT 

JOHN JAY 

JOHN JAY 

JOHN JAY 

JOHN JAY 

JOHN JAY 

THOMAS JEFFERSON 

THOMAS JEFFERSON 

THOMAS JEFFERSON 

THOMAS JEFFERSON 

THOMAS JEFFERSON 

THOMAS JEFFERSON 

THOMAS JEFFERSON 

DOCTOR WILLIAM SAMUEL 
JOHNSON 

JUDGE STEPHEN JONES 

MRS. JONES 

MATTHEW HARRIS JOUETT 

OLIVER DE LANCEY KANE 

MRS. OLIVER DE LANCEY KANE 


414 
AIS 
415 


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JOHN PHILIP KEMBLE 
JOHN PHILIP KEMBLE 


- JOHN PHILIP KEMBLE 


MRS. JOHN PHILIP KEMBLE 
MICHAEL KEPPELE 

MRS. MICHAEL KEPPELE 
RUFUS KING 

RUFUS KING 


- RUFUS KING 
- WILLIAM KING 


MRS. WILLIAM KING 

REVEREND JOHN THORNTON 
KIRKLAND 

SIR WILLIAM KIRKPATRICK 


- CHARLES KNAPP 


GENERAL HENRY KNOX 
GENERAL HENRY KNOX 


- JOHN LANGDON 


JOHN LARDNER 
REVEREND JOHN LATHROP 
THOMAS B. LAW 

MRS. THOMAS B. LAW 
AUGUSTINE HICKS LAWRENCE 
CAPTAIN JAMES LAWRENCE 
CAPTAIN JAMES LAWRENCE 
MRS, THOMAS LEA 
BENJAMIN LINCOLN LEAR 
MRS. WILLIAM LE CONTE 
CHARLES LEE (?) 

MRS, CHARLES LEE 

MRS. GEORGE GARDNER LEE 


- MAJOR-GENERAL HENRY LEE 


RT. HONORABLE HENEAGE 
LEGGE 
DUKE OF LEINSTER 


MISS ELIZABETH SPROAT LENOX 
- MISS ISABELLA HENDERSON 


LENOX 
CHARLES POWELL LESLIE 
DOCTOR JOHN C. LETTSOM 


CONTENTS 


PAGE 


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4.76 


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MRS. LAWRENCE LEWIS 
WILLIAM LEWIS 

ROBERT LISTON 

MRS. ROBERT LISTON 

MRS. ROBERT R. LIVINGSTON 
MRS. ROBERT R. LIVINGSTON 
MRS. ROBERT R. LIVINGSTON 
MRS. ROBERT R. LIVINGSTON 
ROBERT R. LIVINGSTON 
DOCTOR JAMES LLOYD 

MRS. JAMES LLOYD 
CAPTAIN WILLIAM LOCKER 
DOCTOR GEORGE LOGAN 


504. JOHN LOGAN 


505. 
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ae 
Tee 
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[eae 
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LOPEZ 
CALEB LORING 

MRS. CALEB LORING 

DAVID LOw 

JOHN LOWELL 

THOMAS LOWNDES 

MRS, THOMAS LOWNDES 
EARL OF MACARTNEY 
JAMES MACDONALD 

SIR ALEXANDER MACKENZIE 
JAMES MADISON 

JAMES MADISON 

JAMES MADISON 

JAMES MADISON 

MRS. JAMES MADISON 
FRANCIS MALBONE 


AND HIS YOUNGER BROTHER, 


SAUNDERS 
THOMAS MALTON 
DUKE OF MANCHESTER 
GABRIEL MANIGAULT 
MRS. GABRIEL MANIGAULT 
JOSEPH MANIGAULT 
MISS ANNA POWELL MASON 
MISS ANNA POWELL MASON 
JEREMIAH MASON 


PAGE 


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LIST OF ILLUSTRATIONS 


PAGE 


GEORGE WASHINGTON _. ' Frontispiece 
LAWRENCE PARK . ; eae ; Njeitp ae tA aes reer 4 
BIRTHPLACE OF GILBERT STUART , : . : ; : 15 
GILBERT STUART ABOUT 1795, #T.40 . : : ; : 21 
GILBERT STUART’S LETTER TO BENJAMIN WEST . : 29 
GILBERT STUART. 0 


MINIATURE BY SARAH GOODRIDGE 


GILBERT. STUART... 5.) es ge 
MINIATURE BY ANSON DICKINSON 


GILBER Test VAR TIN 1826047900 on oa. ; ; ; ; ; : ‘ 57 


GILBERT STUART IN. 1825, 47.70... 9 2) 0 0) 
BUST BY J. H. I. BROWERE 


A SKETCH OF THE LIFE OF 


GILBERT STUART 
1755-1828 
By JOHN HILL MORGAN 


HE main sources from which writers on the life of Gilbert Stuart 

have drawn their information are “The Rise and Progress of the 
Arts of Design in the United States,” by William Dunlap, published in 
1834, and three articles by Stuart’s daughter Jane, written in 1876-77 
for Scribner’s Monthly * 

The value of the first lies in the fact that Dunlap knew Stuart, whom 
he met in London as early as 1784, and also because he collected a series 
of anecdotes concerning him from among his contemporaries. Trum- 
bull, Fraser, Sully, Neagle, Longacre, Edwin, Trott, Judge Hopkinson 
and others, each furnished material but the most important contribu- 
tion was the manuscript memoir written by the artist’s boyhood friend, 
Benjamin Waterhouse. This memoir Dunlap had before him when he 
compiled that portion of his book which deals with Stuart’s life, and he 
drew upon it copiously. 

Dunlap’s anecdotes furnished the sole groundwork for all the 
sketches of Stuart for the next forty years and as they laid stress on his 
extravagance and the trivial defects in his character, they naturally gave 
offense to the Stuart family. In fact Miss Anne Stuart complained that it 
was her father’s misfortune to have had his fame handed down to pos- 


* Wherever the words of Dunlap or Water- Stuart are quoted they are taken from one 
house are quoted in this sketch they are of her articles, viz., “The Stuart Portraits 
taken from Dunlap, and where reference of Washington,” “The Youth of Gilbert 
is given, the paging of the Bayley and Stuart” and “Anecdotes of Gilbert Stu- 
Goodspeed edition of 1918 has been art.” Scribner’s Monthly, July, 1876, 
adopted. Wherever the words of Jane and March and July, 1877. 


GILBERT STUART 


terity by his enemies. She said that Dunlap, “his most distinguished 
biographer” was “fit to write only for the Green-room, for which he had 
been mostly employed,” and that John Trumbull told her he would not 
have identified as Stuart, “the Tavern jester,” Dunlap represented.’ 

Jane Stuart attempted to gather materials for a life of her father, but 
finding the work too laborious, published the results in the articles be- 
fore referred to, and turned the task over to George C. Mason. His 
volume, published in 1879, bears the ambitious title of “The Life and 
Works of Gilbert Stuart,” and although Mason had access to all the 
information in the possession of the Stuarts, yet the result failed to sat- 
isfy the family. 

Mason minimized the value of the work of his forerunners, saying 
the information concerning Stuart, up to the time of his writing, had 
“been made up of anecdotes (many of them of doubtful authenticity)” 
and yet most of the incidents related by Dunlap or Jane Stuart will be 
found in his pages in one form or another. The book is important be- 
cause it lists over five hundred portraits and in that it again brought to 
the attention of the public, Stuart’s fine Washington portrait of the 
“Vaughan Type,” which the popularity of the “Athenaeum” head had 
consigned to unmerited obscurity, but it added practically nothing to 
our knowledge of his life. 

Beginning in 1897, the late Charles Henry Hart published a series 
of articles in the Century Magazine on “Gilbert Stuart’s Portraits of 


1. Letter of Anne Stuart to Wilkins Updike the reader should recall that Dunlap de- 
dated February 25, 1843. (“A History voted himself to the stage as well as to 
of the Episcopal Church in Narragansett, literature and painting. He was the au- 
Rhode Island, including a history of thor of many plays, manager of the Park 
other Episcopal churches in the state,” Theatre, New York, 1798-1805, and 
by Wilkins Updike. Second edition, Bos- author of the “History of the American 
ton, 1907, page 604.) Theatre,” New York, 1832. 


To understand Miss Stuart’s criticism 


IO 


GILBERT STUART 


Women.”” These contain biographical data, as well as comments on the 
portraits, and if read consecutively will give an outline of the painter’s 
life. But even in Hart’s dogmatic periods, as well as in the many “lives” 
which have appeared since, when the facts are analyzed, little can be 
found except variations of the main compositions and all trace back to 
Dunlap or through Mason to the articles of Jane Stuart. 

The writer therefore has had the records searched for Stuart mate- 
rial for the first time, he believes, and used the results for the groundwork 
of his sketch and filled in with such first-hand information as he could 
gather from the comment of the period. 

Where Dunlap and Jane Stuart disagree on some fact not able to be 
determined from some other source, the writer has adopted the view of 
Dunlap whenever shown to be first-hand or based on the Memoir of 
Doctor Waterhouse, for the reason that both were contemporaries of 
Stuart, and Waterhouse lived in the same town with him, was intimate 
with the family and his character and career entitle him to belief.’ 

In weighing the statements of Jane Stuart the reader should consider 
the position she occupied in Newport at the time (1876), and realize 
that her articles were written not with the idea of giving facts, but to 
magnify the social importance of the family.* Thus, if her grandfather 
had fled to Rhode Island to escape persecution because of his service 
under Prince Charles Edward, “The Young Pretender,” as she avers, 
that fact would link the family to the Royal Stuarts and to the romance 


2. Century Magazine, November, 1897; He later assisted in founding the Har- 
April, June, August, September and Oc- vard Medical School, and was one of its 
tober, 1898; March, April, May, June, distinguished professors for thirty years. 
July, September and November, 1899. (Updike, supra, page 600.) 

3. Dr. Waterhouse was born in Newport, 4. “Miss Jane Stuart,” by Mary E. Powell. 
Rhode Island, and after studying in Ed- Bulletin of the Newport Historical So- 
inburgh, London and Leyden, began the ciety, January, 1920, No. 31. 


practice of medicine in Newport in 1780. 


II 


GILBERT STUART 


of a lost cause—a highly dignified and satisfactory ancestry. On the 
other hand, if the elder Stuart emigrated to Rhode Island because of the 
need of a “competent mill wright” in the Colony, her claim to gentle 
birth disappears. And so with many of her other assertions: as to her 
father’s early education; as to his leaving Rhode Island for the purpose 
of studying under Benjamin West; and as to his return to America solely 
because of his desire to paint Washington’s portrait; all fade in the light 
of the recorded facts. Miss Stuart seems to have lacked that sense of 
proportion which would have enabled her to see that the higher the 
plane upon which she started the career of Gilbert Stuart, the more she 
subtracted from his rise to fame. For this Colonial English youth, before 
he had reached middle life, was recognized as one of the two or three 
leading portrait painters of his day, not alone in the land of his birth, but 
in England as well. 

Lawrence Park’s volumes are not alone a catalogue raisonné of the 
portraits of Gilbert Stuart, but contain over six hundred reproductions of 
the life work of aman whose name stands first among American portrait 
painters, and as they may be consulted by students for biographical data 
as well, the attempt has been made to set down in readable form the prin- 
cipal facts of Stuart’s life. Where the fact is in doubt, that doubt has been 
expressed, and where the subject of controversy, such has been indi- 
cated; so that any reader desirous of following the subject further, at 
least may have a base from which to start. 

To separate fact from gossip has been no light task, especially as the 
artist had an aversion to writing, Mason saying in the preface of his book 
that “With the exception of a few letters addressed to Stuart, the drafts 
of a couple of letters that he wrote in 1800, and a few brief entries made 
ina note book while he resided in Boston, Stuart left no papers that could 
be made available in sketching his career.” 


12 


GILBERT STUART 


Following Ben Jonson’s advice to the reader of the First Folio that, 
as Droeshout could not grave the poet’s wit, he bids him look not on 
Shakespeare’s portrait but on his book, so the writer begs that if you 
would know Stuart you seek him not in the following pages but in his 
works, for there the real Stuart lives and thereon rests his fame. 

The career of Gilbert Stuart divides itself quite naturally into three 
periods: his early life in His Majesty’s Colony of Rhode Island and 
Providence Plantations (1755-1775), his life in England and Ireland 
(1775-1793), and his life in America (1793-1828). 


First Period— Life in Rhode Island 


1755-1775 

ILBERT STUART was born in the township of North Kings- 
Grown. Kings, or what is now Washington County, Rhode Island, 
on December 3, 1755. His father, Gilbert Stuart, a native of the town of 
Perth, Scotland, emigrated to America at the suggestion of Doctor 
Thomas Moffatt, a Scotchman living in Newport, who had written 
home to obtain the services of a “competent mill-wright.” Moffatt 
foresaw possibilities in the manufacture of snuff in the Colonies to 
compete with the large quantities usually imported from Glasgow and 
desired to erect a mill and engage in the business.’ 


5. The family tradition was that the elder (see his obituary notice in the Royal Ga- 
Stuart, the son of a Presbyterian clergy- zette and Nova Scotia Advertiser, Sep- 
man, educated for the ministry, differed tember 24, 1793), he therefore was 
from his father in politics and joined the twenty-seven and not nineteen at the time 
army of Prince Charles Edward, “The of the Battle of Culloden. As early as 
Young Pretender.” After being present 1751 the Narragansett Records refer to 
at the Battle of Culloden in 1746, he him as a “mill right,” which would cor- 
fled to America when he was nineteen or roborate the story of Waterhouse that 
twenty years old, and there met and as- sometime about 1750 Stuart the elder 
sociated himself with Dr. Moffatt. As was induced to emigrate to Rhode Island 
the elder Stuart died in his seventy-fifth because of his previous experience in 
year in Halifax on September 18, 1793 milling. 


13 


GILBERT STUART 


Stuart the elder must have arrived in America some time previous to 
May 23, 1751, as on that day he was married in Newport to Elizabeth 
Anthony, by Martin Howard, Justice. She was a daughter of Albro 
Anthony, a substantial land owner of Middletown, Rhode Island, and 
a granddaughter of that John Anthony who sold “the 96 acres” of land 
to Bishop (then Dean) Berkeley. Here the Dean built Whitehall and 
composed one of his remarkable works, ““The Minute Philosopher.”” 
~ The Land Title Records of North Kingstown show that on Novem- 
ber 5, 1751, Gilbert Stewart, “Mill Right,” entered into articles of co- 
partnership with Edward Cole, gentleman, and Thomas Mofht (sic), 
physician, both of Newport, to erect at Pettaquamscutt a snuff mill, or 
as the record quaintly puts it, “to erect an engine for the manufacture 
of snuff.”” The site selected was that point formed by the junction of the 
Mattatoxet stream and the Narrow or Pattaquamscott tidal river, a few 
miles from Narragansett Pier. This point formerly had been occupied 
by the Narragansetts, and the fall had long been used, probably as early 
as 1687, for milling purposes. There the elder Stuart built his home,’ 
a two-story building with gambrel roof, the mill occupying the lower or 
basement, and the dwelling the upper story on the level with the mill- 


6. It was the gift of this farm in 1731 to erected and built”; if separate,as Dunlap 
Yale College which founded the Berke- states, then Stuart possibly built a mill 
leyian Scholarships awarded by Yale an- nearby which has disappeared. Stuart late 
nually from 1735 to this day. in life visited his early home and identi- 

fied the room in which he was born. (See 

7. North Kingstown Land Evidence Book, “Early Recollections of Newport,” by 
10-B, page 228. George G. Channing, Newport and Bos- 

ton, 1868.) Norman M. Isham, the au- 

8. If the house and mill were one, as Updike thority on seventeenth and eighteenth 
states, then Stuart was the builder, as the century American architecture, who kind- 
deed, Stuart to Moffatt (see note 10), ly examined the Stuart home for the 
after referring to the covenant inthe part- writer, states that while the building ap- 
nership articles of 1751 to erect the mill, pears to antedate 1750, it is practically 
recites that “the s’d mill was afterward certain that the mill and home were one. 


14 


GILBERT STUART 





BIRTHPLACE OF GILBERT STUART 
From a photograph taken in the Eighteen Seventies. The buildings to the right are late additions 


dam, and in the northeast bedroom thereof was Gilbert Stuart, the artist, 
born. 

The Parish Register of St. Paul’s (“The Old Narragansett Church”) 
contains the following entry: 


“April 11th 1756 being Palm Sunday Dr. MacSparran read Prayers, preached 
and baptized at St. Paul’s Narragansett 2 children one, named Gilbert Stewart Son 
of Gilbert Stewart y* Snuff Grinder Sureties ye Dr. Mr. Benj? Mumford and Mrs. 
Hannah Mumford,” etc.’ 


Hart asserts that this Church record, because of the spelling of the 
family name, conclusively shatters the family legend as to the Jacobite 


9. Updike (supra), page 286. where it still stands. The Rector at the 
This church was erected in 1707 and time of Stuart’s baptism was that Dr. 
removed to Wickford intact in 1799, James MacSparran, famous in the annals 


15 


GILBERT STUART 


leanings of the Stuart family and that it proves that the artist was merely 
Gilbert, son of “Gilbert Stewart—y* Snuff Grinder.” The family name 
is spelled Stewart on the occasion of the baptism of the two older chil- _} 
dren and also in the record of the father’s marriage and in the partner- 
ship articles; yet on the other hand, when the elder Stuart in February, 
1761, sold back his interest in the land and mill to Doctor Moffatt he 
signed his name Stuart.” It would appear, then, that the records prove 
little on this point except that correct orthography was a matter of small 
moment at the time, and how strangers spelled the family name is of 
slight importance, as the father spelled it Stwart, and as the painter made 
his fame and will always be known as Gilbert Stuart. *’ 

The trade of snuff-grinding having failed for the lack of the glass 
bottle containers in which it was usually retailed, the Stuart family 
moved to Newport and there began the artist’s friendship with Water- 
house. It is a fair assumption that this took place in 1761, at about the 
time the elder Stuart sold his interest in the mill, as Waterhouse says 
it was the failure of the venture which caused the move. 

The place of abode of the family in Newport is referred to as “in a 
house next to Mr. Abraham Redwood.” This would indicate a situa- 
tion in the rear of what is now 341-345 Thames Street, as the painter 
himself satirically referred to this early home as a “hovel on Bannister’s 
Wharf.” 

In his childhood Stuart was taught by his mother, and Miss Jane tells 
of her attempt to instruct him in Latin (of which language she was com- 
pletely ignorant), and after the family moved to Newport he attended 


of the Church in Rhode Island, whom partly burned but enough of the signa- 

Dean Berkeley and Smibert visited upon ture remains to show the spelling as 

their arrival in the Colonies in 1729, and “Gilbert Stua[ |.” 

whose portrait by the latter is so familiar. 11. “Miss Jane Stuart” by Powell (supra), 
10. North Kingstown Land Evidence Book, page 3. 


r1-A, page 161. This record has been 
16 


GILBERT STUART 


the Kay School for two years under the Reverend George Bisset. The 
facts regarding the Kay School areas follows: Nathaniel Kay, Collector 
of Customs in Rhode Island under Queen Anne, upon his death in 1734 
bequeathed 400 pounds sterling and his home and coach house next to 
_ the Jewish cemetery, to the Vestry of Trinity Church to found a school 
“to teach ten poor boys their grammar and the mathematics gratis: and 
to appoint a Master . . . who shall be Episcopally ordained.” This 
school was started about 1742, after the death of Kay’s widow, and the 
Reverend George Bisset, first Associate and later Minister of Trinity 
Church, was the Master from November, 1767, until June of 1771. 
Nowhere does Doctor Waterhouse state that he was at school with 
Stuart, but only that “there (N ewport) the writer of this Memoir first 
became attached to the school boy Gilbert Stuart.” Making due allow- 
ance for the fact that in 1763 English, Writing and Latin were added to 
the school curriculum, still, as the records show, the Kay school was 
founded and continued as a charity,” and the conclusion follows that 
young Stuart’s education consisted in attendance for a short period at 
the Parochial School of Trinity Church as a charity scholar, which 
would accord with the apparent financial situation of the family at 
the time. 

The usual stories are told of Stuart’s early precocity, one being that he 
drew a portrait on the earth when he was but five years old, but the truth 
is that we know little of his life in Newport and nothing of the sources 
from which he inherited his artistic bent. ‘That the painting talent was in 
the family may be deduced from the circumstance that his only sister, 
Anne, married for her second husband, Honorable Henry Newton, 


12. “Annals of Trinity Church, Newport,” to Robert Veates as Master, the minute 
by George C. Mason, Newport, 1891- reads that he should receive “£10 per 
94, Vol. I, pages 28-9, 49, 120, 122 boy per annum for teaching ten poor 
and 147. When pay was voted in 1761 boys.” . 


17 


GILBERT STUART 


Collector of Customs for the Port and District of Halifax, and was the 
mother of Gilbert Stuart Newton, who held high place in the British art 
of the first half of the nineteenth century. 

Of these boyhood years Doctor Waterhouse relates that Stuart began 
to copy pictures when he was thirteen years old and a little later at- 
tempted to draw portraits in black lead. There is in the Essex Institute, 
Salem, Massachusetts, a bust portrait of a man by Stuart in pastel, signed 
and dated 1767.” This would indicate that it is a portrait, or more prob- 
ably a copy, done before Stuart’s twelfth birthday. Mason says that the 
portraits of Mr. and Mrs. Bannister,* now in the Redwood Library, 
were painted when Stuart was thirteen (1768-69), but as that of Mrs. 
Bannister also contains a portrait of her son (born 1769), this conclusion 
is obviously wrong. The apparent age of the boy and the similarity of 
the painting in a general way to the work of Cosmo Alexander, suggest 
that the portraits were painted in 1774-75, after Stuart returned from 
Scotland, and these can be used as examples of Stuart’s advancement in 
his art asa result of his two years, or so, under Alexander. 

As Cosmo Alexander was his first teacher in painting, some reference 
to him may be timely, especially as the facts given in the various lives of 
Stuart are most meagre. This artist, whose full name was Cosmo John 
Alexander (1724-1773), was named for his father, John, also a painter, 
and his father’s patron, Cosmo III, Grand Duke of Tuscany. Both 
Cosmo and his father are in the contemporary lists of those who were 
“out” in the Aberdeen District in the Rebellion of 1745, and after the 
Battle of Culloden, Cosmo Alexander went to Italy, as there is a portrait 
signed by him and dated “Rome, 1749.” Alexander in 1754 became the 
heir of James Gibbs, the architect of St. Martins in the Fields, which cir- 
cumstance probably gave him the “independent means” of which his 


13. See plate No. 400. 14. See plates Nos. 32 and 33. 
18 


GILBERT STUART 


contemporaries speak and permitted him to follow art as an avocation. 
He attained some reputation as a portrait painter in his day, as he was 
admitted as a “master painter” into the Painters’ Guild at the Hague in 
1760. He was elected a member of The Society of Artists of Great 
- Britain in 1767 and to the Free Society of Artists, London, about 1772.” 
Alexander first appears in the Colonies in Burlington, New Jersey, in 
1768. Apparently the purpose of his journey was twofold: for the 
benefit of his health and in reference to some lost lands. He brought 
with him a letter of introduction to Governor William Franklin of New 
Jersey from his friend and correspondent, William Strahan of London, 
“The King’s Printer.” This we gather from the reply of Governor 
Franklin to Strahan, dated January 29, 1769, which states in addition 
that Alexander “‘has been for several weeks together at my house, and I 
employed him in doing as much painting as came to ninety Guineas, 
besides getting him business in that way from several of my friends.” 
Waterhouse states that Alexander came to Newport about 1772, asso- 
ciated almost exclusively with the Scottish Colony, and soon after his 
arrival opened a painting room. Many portraits of the well-to-do resi- 
dents of the Newport of that day attest his success. What Alexander was 
doing between 1769 and 1772 has evaded discovery up to the present, 
but it would seem probable that he arrived in Newport and returned to 
Scotland at an earlier date than assigned by Waterhouse. 

How young Stuart, then about sixteen, came under his care does not 
appear, but the fact that Alexander was a Scotchman, far in advance 
of any other painter in Newport and Stuart’s own proficiency, although 
largely self-taught, would seem to be sufficient explanation. The train- 


15. “Scottish Painting Past and Present,” 16. Pennsylvania Magazine of History and 
by James Lewis Caw, Edinburgh, 1908, Biography, Vol. XX XV, October, 1911, 
pages 27-28. No. 140. 


19 


GILBERT STUART 


ing which Stuart received is described as instruction “in drawing” and 
in “the ground work of the palette.” 

The usually accepted story is that after spending the summer in 
Rhode Island, Alexander, accompanied by his pupil, made a tour of the 
South after the custom of the day, and sailed from Charleston, South 
Carolina, in 1772 for Scotland. While we know nothing of this journey, 
the portraits of John Ross of Philadelphia; of Mrs. William Byrd of 
Virginia (Elizabeth Willing) and Margaretta Ross of Newcastle, Dela- 
ware, by Alexander, suggest a stay in these neighborhoods, although 
these portraits may have been painted during his sojourn in New Jersey. 

The account of Waterhouse is that Alexander died shortly after his 
return to Edinburgh, leaving his pupil to the care of Sir George Cham- 
bers, who also died shortly afterwards. Stuart made an unsuccessful 
attempt to support himself by his art in Scotland, but, receiving harsh 
treatment from those in whose care he had been left, he was forced 
finally to work his passage home on a collier bound for Nova Scotia. In 
any event, Stuart was again in Newport in 1773 or 1774, and the cir- 
cumstances of this episode in his career were so painful that he could 
never be induced to enlarge upon them.” 

His return was at a most critical time in American Colonial History. 
Lord North, in March, 1774, had carried through the Parliament four 
drastic measures aimed at the Town of Boston primarily: one closed the 
port and transferred its trade to Salem—if Boston would have no tea it 
should have no trade; a second suspended the charter of Massachusetts; 
the third quartered troops upon the Province; and the fourth transferred 


17. The family tradition was that Stuart there “long enough to give him at least 
was sent to Scotland to Sir George a classical taste,” but the matriculation 
Chambers for the purpose of finishing register fails to bear his name as a stu- 
his education at the University of Glas- dent and the means of the elder Stuart 
gow, and Jane Stuart says he remained would hardly have warranted such ex- 

penditure. 


20 





GILBERT STUART ABOUT 1795, 2T. 40 


From the portrait by Charles Willson Peale and Rembrandt Peale, 
now owned by the New York Historical Society 


21 


GILBERT STUART 


riot trials to England. What had been done with regard to Massachusetts 
could be done to the other colonies. This the Revolutionary party 
realized and began to prepare for the inevitable conflict. 

While Stuart received some patronage from his uncle, Joseph An- 
thony, a prosperous Philadelphia merchant, and from local people, 
especially trom that colony of rich and cultivated Sephardic Jews then 
living in Newport, it is apparent that America for the time being was no 
place in which to practice the painter’s art. 

He remained a year or two in Rhode Island, alternately studying 
painting and music, in which latter art he was also talented, and what 
considerations fixed his determination to go to England are not entirely 
clear. The cause usually assigned is that given by the Stuarts themselves; 
that is, his desire to study under West, but when the circumstances sur- 
rounding his family and his associates and his own acts are considered, 
this highly dignified reason must be discarded. 

Stuart’s daughter Anne wrote that her grandparents being “‘attached 
to the British Government,” Gilbert Stuart the elder fled to Nova Scotia 
at the commencement of the Revolutionary War, leaving his family 
behind, and that as a consequence all their property was confiscated.” 
From the Colonial records of Rhode Island we learn the following: 
When the Township of Newport, Hants County, Nova Scotia, was laid 
out on July 21, 1761, Gilbert Stuart, the elder, was one of the grantees 
and as he had just at that time disposed of his interest in the snuff mill, it 
is probable that he contemplated emigrating to that Colony. The terms 
of his grant were that he should clear three-fourths thereof within ten 
years, but apparently he did not settle upon this farm, as he continued 
his snuff-grinding in Newport, Rhode Island, until the summer of 1775 
when he left, never to return. These latter facts appear from a petition 


18. Letter to Wilkins Updike, supra. 
22 


GILBERT STUART 


made to the February session of the General Assembly of Rhode Island 
(1776), in which Elizabeth Stuart “wife of Gilbert Stewart, late of 
‘Newport, in the Colony of Rhode Island, snuff maker,” sets forth that 
her husband was the owner of a tract of land in Newport, Nova Scotia, 
“under improvement and upon which he hath some stock,” and that he 
did ‘‘sometime last summer remove to his said farm, where he now is, 
and proposes to remain.” She therefore prayed that she might join him 
as it was impractical to support herself and family “‘in this colony,” and 
she therefore “besought this Assembly to permit the sloop Nova Scotia 
Packet, David Ross, Master, to proceed to said ‘Township of Newport 
in Nova Scotia with herself and family. She being willing to give the 
amplest security that nothing but the wearing apparel, household furni- 
ture of the family and the necessary provisions of the voyage shall be 
carried in such sloop.” This petition was granted and the sloop per- 
mitted to sail with the Stuart family.” 

Stuart the elder appears in Newport, Nova Scotia, some time in the 
summer of 1775 and a little later went to live in Halifax. There he was 
granted permission to erect a windmill on the top of a small hill on part 
of the Halifax Common, which became known as “Windmill Hill,” 
now called “Camp Hill,” and there he carried on his old trade of snuff- 
grinding until he died on the 18th day of September, 1793.” 


19. “Narragansett Historical Register,” were decently interred.” He was in- 
Vol. VII, page 124, and I, 247-255. terred in the old burying ground on 
“Rhode Island Colonial Records,” Vol. Pleasant Street, sometimes called St. 
VII, pages 461-62. Paul’s Graveyard, although where, is 

uncertain, as no stone marks his grave. 

20. In the Royal Gazette and Nova Scotia He died intestate and letters of admin- 
Advertiser, Tuesday, 24th September, istration were granted to Andrew Bel- 
1793, appears the following: (Died) cher, Esq., merchant, “principal credi- 
On Wednesday night last,suddenly, Mr. tor to said estate.” (The factsin this par- 
Gilbert Stewart, in the 75th year of his agraph furnished by Harry Piers, Esq., 
age—And on Saturday last his remains Curator, Provincial Museum, Halifax.) 


23 


GILBERT STUART 


From the facts disclosed by these records, the following deductions 
can be made: It is unlikely that the elder Stuart served under “The 
Young Pretender,”’as, if he were a Jacobite, his feelings against the Han- 
overian dynasty quite naturally would have led him into the Revolution- 
ary party and he would not have moved away; he certainly was not 
much of a Tory, for the Rhode Island records fail to show the confisca- 
tion of any property belonging to him, which certainly would have fol- 
lowed any pronounced “attachment to the British Government” on his 
part while in Rhode Island. It seems probable, therefore, that not hav- 
ing any strong convictions one way or the other and foreseeing serious 
trouble between England and her Colonies, the elder Stuart moved to 
Nova Scotia in the hope of bettering his condition. 

Turning to the elder Stuart’s partner and associate, Doctor Moffatt, 
we find that in 1765 he became one of the three hated “stamp masters” of 
Newport and in consequence he was burned in efhgy by a mob in front 
of the Court House, his home was rifled and he, forced to seek protec- 
tion on board a sloop of war lying in the harbor, later fled to England. 
The records further show that in October, 1775, the sheriff of Kings 
County, Rhode Island, was ordered to take possession of his estate in 
North Kingstown; in November, 1779, an information was filed in the 
Superior Court in Providence, against “Thomas Moffatt, late of New- 
port, physician”; in May, 1780, a committee was appointed to dispose 
of the personal property on the land and in September, an act was passed 
for the sale of his farm which, after various postponements, was finally 
sold in February, 1783, to Colonel Archibald Crary for 610 pounds 
sterling. This sale covered the birthplace of Gilbert Stuart.” It seems 
clear from the above that Moffatt was a Tory and nota Jacobite. 


21. “Rhode Island Colonial Records,” Vol. December 18, 1779; “Rhode Island 
VII, page 377; Providence Gazette, Colonial Records,” Vol. IX, pages 72, 


24 


GILBERT STUART 


Of Stuart’s teachers the Reverend Mr. Bisset was a pronounced Tory 
and accompanied the British army when they evacuated Newport in 
1779: 

Of his friends, Waterhouse had sailed to Scotland in March, 1775, to 
study medicine. 

Of his clients, most who can be identified came from Tory families. 
The daughters of Doctor Hunter, the family physician, for whom Stuart 
is said to have executed his first commission,” were'noted entertainers 
of the British. Mr. and Mrs. Bannister were Tories and their residence 
on Pelham Street was the headquarters of the surly General Prescott and 
of his successor, Lord Percy, when Commanders-in-Chief at Newport. 
Lord Percy, the hero of the story of the Boston Boys and the Common, 
was later, as Duke of Northumberland, a kind patron of Stuart during 
his early career in London. At this time the mutterings of the approach- 
ing revolution were growing in intensity and families were taking sides 
and there is not the slightest evidence that Gilbert Stuart, the painter, 
ever even considered joining his fortunes with those of the rebels. 

From these considerations the bare fact remains that Stuart sailed 
from Boston on June 16, 1775, the day before the Battle of Bunker 
Hill, on the last vessel to clear that port and bearing with him a single 
letter of introduction to Alexander Grant, a Scotch gentleman residing 
in London. This vessel probably stopped at Norfolk, Virginia, before 
proceeding to England, and Stuart did not reach London until four 
months later. If Stuart undertook this journey for the purpose of train- 
ing under West, would he not at once have made the attempt to enter his 


289, 638; Deed, Joseph Clarke, Gen- these records were furnished by H. W. 
eral Treasurer, to Archibald Crary of Preston, Esq., of Providence, Rhode 
East Greenwich, recorded June 23, Island. ) 


1783, North Kingstown Land Evidence 
Book, 14-A, page 131. (The facts from 22. See plate No. 153. 


25 


GILBERT STUART 


studio? This is precisely what he did not do, and therefore the conclu- 
sion follows that Stuart, coming froma family which if it had any afhlia- 
tions sympathized with the Tories, being in indigent circumstances and 
finding little encouragement for his profession in the Colonies, deter- 
mined to try his fortune in the mother country, as upon no other rea- 
sonable hypothesis can his failure to bring himself to West’s attention, 
for over two years after his arrival in London, be satisfactorily explained. 


Second Period—Life in England and Ireland 
1775-1793 


TUART reached London late in November, 1775, and found that, 

as Waterhouse had gone to Edinburgh to study, he was without 
acquaintance. He immediately sought clients for his support. His 
daughter writes that he “went into cheap lodgings,” now and then 
painting a portrait “at a price so low as scarcely to give him bread.” What 
else except poverty and neglect could a youth not yet twenty —ill- 
equipped by experience and ill-provided with money or friends—have 
expected in the wilderness of London?—especially as his art at this 
period when compared with the standard demanded by the metropolis 
can only be said to have been crude and immature. It was in this case that 
his talent for music stood him in good stead. In relating the hardships of 
these days to Fraser and Sully he told of how, “destitute of the means 
whereby to support himself, or pay his landlord for board and lodging, 
already due, walking the streets without any definite object in view,” he 
happened to pass a church in Foster Lane” which was holding a compe- 


23. James Dowling Herbert in “Irish Va- Church, Strand. Probably it was St. 
rieties for the Last Fifty Years,” Lon- Vedast’s Church, Foster Lane. 
don, 1836, says it was St. Catharine’s 


26 


ta 


GILBERT STUART 


tition for the position of organist. He entered the trial, was successful, 
and thereafter the salary of 30 pounds sterling a year was added to his 
meagre resources. 

It was so circumstanced that his friend Waterhouse, returning from 
Edinburgh in the summer of 1776, found him lodging probably with 
one John Palmer in “York-buildings”” with but one picture on his 
easel—a family group being painted for Alexander Grant. From this 
time on the intimacy of these two was continued, and a new lodging 
found for Stuart, nearer to his friend, who was living in Gracechurch 
Street, so as to be close to St. Thomas’ and Guys’ Hospitals. Waterhouse 
has left us a detailed account of this period, including a description of 
their rambles about London exploring its byways and visiting its picture 
galleries, to which by agreement they devoted one day a week “wher- 
ever we could get admittance.” They used as a guide Maitland’s de- 
scription of London, and Waterhouse says they found nothing equal to 
the collection at the Queen’s Palace or Buckingham House. He also 
tells of Stuart’s improvidence; of his neglect of his work; of his constant 
money difficulties, and of how he twice took him out of “sponging 
houses” by paying the debts for which he was confined. In addition to 
lending him most of his pocket money Waterhouse found Stuart patrons 
as well. We read of a portrait of Waterhouse painted for Doctor Fother- 
gill,** which commission he says was a delicate mode of handing Stuart 
ten guineas; of the portrait of Doctor William Curtis; of two beautiful 
sisters, who sat, one as the tragic and one as the comic muse, and of an 
unfinished whole-length of the “celebrated” Doctor Lettsom. It 1s 
possible also that it was at this time that Stuart made his visit to Scion 
24. Both Kent’s and Lowndes’ London Di- 25. See plate No. 553. 

rectories of the period speak of York 


Buildings as being located on Bucking- 
ham Street, Strand. 


27 


GILBERT STUART 


House and there painted the portraits of the Duke of Northumberland 
and of his two children, as his daughter writes that her father always 
“loved his (Lord Percy’s) memory as he had shown a very great interest 
for him, when he was young, struggling with adverse fortune.” 

Jane Stuart criticizes this account by Waterhouse of her father’s early 
days and hints at an estrangement between the two, evidently with a view 
toward discrediting his statements, but the facts are that the two re- 
mained firm friends until Waterhouse went to the University of Leyden 
to finish his studies in medicine in the fall of 1778. Upon their comple- 
tion Waterhouse returned to America and settled in Cambridge, and 
never saw his friend again until, after the passage of over twenty-five 
years, Stuart moved to Boston in 1805. There their friendship was con- 
tinued even after they took opposite sides in the political controversies 
engendered by the war of 1812.” 

How Stuart finally brought himself to West’s attention is related by 
Waterhouse as follows: He says that Stuart, being in dire straits, he 
“called upon Mr. West, and laid open to him his (Stuart’s) situation, 
when that worthy man saw to it at once, and sent him three or four 
guineas,” and two days later sent his servant into the city and invited 
Stuart to call upon him and afterwards employed him in copying.” 

A recently discovered letter, which has been preserved doubtless by 
reason of West’s sketches which cover the inner sheets, throws enough 
light on the subject to warrant its quotation in full. It is addressed “For 


26. Dunlap, page 258. version has usually been accepted, as 

27. Jane Stuart scores Waterhouse for this it recerved some corroboration from a 
statement, saying that although he was story, related twenty years after the 
intimate in West’s household he never event by West’s friend, Joseph Whar- 
thought to introduce his friend; and ton, to Thomas Sully, to the effect that 
that her father “at last summoned his he was at West’s house the night Stuart 
courage and in a moment of despera- called without an introduction of any 
tion” called upon the great painter. This kind. 


28 


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GILBERT STUART'S LETTER TO BENJAMIN WEST 


29 


GILBERT STUART 


Benjamin West Esq’, Newman Street, Oxford Street,” and the post- 
marks read “Penny Post Paid. G. M. O.” and “7 o’clock.” The letter 


is as follows: 


“Monday Evening No. 30 Grace Church street 
Mr: West 
Sir 
The Benevolence of your Disposition encourageth me, while my necessity 
urgeth me to write you on so disagreeable a subject. I hope I have not offended by 
takeing this liberty my poverty & ignorance are my only excuse Lett me beg that I 
may not forfeit your good will which to me is so desireable. Pitty me Good Sir I’ve 
just arriv’d att the age of 21 an age when most young men have done something 
worthy of notice & find myself Ignorant withoutt bussiness or Freinds, without the 
necessarys of life so far that for some time I have been reduced to one miserable 
meal a day & frequently not even that, destitute of the means of acquiring knowl- 
edge, my hopes from home Blasted & incapable of returning thither, pitching 
headlong into misery I have this only hope I pray that it maynot be too great (to 
live & learn without being a Burthen, Should Mr West in his abundant kindness 
think of ought for me I shall esteem it an obligation which shall bind me forever 
with gratttude with the greatest Humility. 
Sir 
Yours at Com4 
G. C. Stuart.”” 


One obvious deduction from this letter is as follows: it bears no date, 
but Stuart says: “I have just arrived at the age of twenty-one,” it must 
have been written, therefore, after December 3, 1776. 

It was written from No. 30 Grace Church Street, which was the home 
of Mrs. John Chorley, a cousin of Dr. Waterhouse. Waterhouse tells us 
that in the summer of 1776 he took up his quarters in that street to be 
near the hospitals, 


“which was about three miles from Stuart’s lodgings (i.e., York Buildings, Strand), 
an inconvenience and grievance to us both as we could not see each other every day. 


28. Courtesy of New York Historical Society. 


30 


GILBERT STUART 


Therefore measures were taken to procure him lodgings between the houses of my 
two cousins, Mrs. Freeman and Mrs. Chorley, nieces of my kinsman and patron 
Dr. Fothergill. This was the best I could do for my friend.”” 


Kent’s London Directory for 1776 and 1777 lists John Chorley, linen 
draper, as living at No. 30 and James Freeman, mercer, at No. 39 Grace- 
church Street. As Stuart went to live between these two, it is possible that 
Waterhouse roomed with his cousin, Mrs. Chorley, at No. 30 and that 
Stuart was in his friend’s lodgings when the letter was written. The other 
possibility is that “lodgings between the houses of my two cousins” 
means that Stuart lodged alternately with one and then the other. We 
know that Stuart was intimate with them as in commenting on a remark 
of Trumbull’s that Stuart was in straitened circumstances during the 
time he was a pupil of West’s, Doctor Waterhouse states that they, his 
cousins, 

“extended towards him every kind act of hospitality and friendship, and would 


have never withheld assistance had they known he wanted for anything, so long 
as I was in the way of knowing anything about them or him in London.”” 


There can be’no speculation about the fact that the letter was written 
from Mrs. Chorley’s house and little that Waterhouse must have known 
of it. 

Through the introduction of the painter’s father, Waterhouse had 
been acquainted with West from the year 1775, and if he “layed open” 
Stuart’s situation to him after the receipt of this letter and afterward West 
employed him in copying, what more likely than that Stuart should have 
moved from Gracechurch Street, which Waterhouse says was not “a 
favorable location for the fine arts,” to 27 Villers Street, Strand, to be 
nearer West’s home in Newman Street. The Villers Street address is 


29. Dunlap, page 204. 1 30. Dunlap, page 210. 


31 


GILBERT STUART 


given as Stuart’s residence in the catalogue of the Royal Academy Exhi- 
bition of 1777 to which Stuart made his first contribution, a “Portrait of 
a Gentleman.” As this exhibition began early in the year 1777 Stuart 
must have moved from Gracechurch Street before the opening, and it 
seems probable that West was then assisting Stuart as it is unlikely that 
he could have obtained the privilege of exhibiting one of his portraits in 
the Royal Academy without the powerful influence of West, who was - 
one of its founders. 

Jane Stuart makes the positive statement that her father entered West’s 
studio in the summer of 1777. Dunlap makes a rather lame deduction 
from some remarks of Waterhouse that this event took place late in 
1778, but the apparent date of the letter and the Villers Street address in 
the spring of 1777 point to the summer of that year as the time when 
Stuart entered West’s household as a student.” 

Here it may not be amiss to acknowledge the debt which American 
art owes to Benjamin West. A list of those who studied under him is 
almost a complete roll of the American painters of this period: Pratt, 
C. W. Peale, Delanoy, Earl, Stuart, Trumbull, Malbone, Fulton, Rem- 
brandt Peale, Duché, Mather Brown, Dunlap, Allston, Sully, S. F. B. 
Morse, Leslie, Henry Sargent, and others, each sought and received his 
instruction and kindly criticism. 

Hart’s caustic hit that “Just what Stuart learned from West is dificult 


31. Stuart’s-letter lays at rest forever the he had been far enough advanced even 
story that he went abroad to study under to enter the University, to say nothing 
West, and clearly shows that only when of remaining there long enough to ac- 
he found himself “without bussiness,” quire “a classical taste” his method of 
reduced to poverty, and his “hopes from expression would not have been as un- 
home Blasted” then his “necessity” formed as that shown in this letter, 
urged him to apply to the man whose whereas its general tenor well fits the 
hospitable doors were ever open to his meagre advantages open to the charity 
countrymen. It disproves also educa- scholar of a Colonial church. 


tion at the University of Glasgow; if 


32° 


GILBERT STUART 


to imagine, unless it was how not to paint,” is unjust, as nothing could 
have been more helpful to an indolent and improvident youth than asso- 
ciation with a man of West’s noble character, and, in addition, West 
had been thoroughly trained in Italy and no better teacher could have 
been found nearer than Rome. If Stuart failed to profit by the example 
of West’s well-ordered establishment, that was his misfortune, and the 
fact that his genius soon surpassed that of his teacher furnishes no 
adequate reason to slur West. 

Stuart remained with West nearly five years and it is clear that he per- 
fected himself rapidly under his teaching and also that his great abilities 
as a painter of portraits, differentiated from a designer of historical com- 
positions, were freely recognized. By the time Trumbull became West’s 
pupil (July, 1780) Stuart had been given a room by himself and was 
painting many important parts of West’s “ten acre” canvasses, as he was 
overrun with work. For example, it is known that Stuart painted a por- 
trait of George III which, after being touched up a little, was presented 
by the King to a newly-appointed Governor-General of India as by 
West and that the two religious canvasses in Fitzroy Chapel,” though 
designed by West, were painted by his pupil. West seems to have recog- 
nized Stuart’s superiority as a portrait painter but this would not have 
caused him a moment’s jealousy, as the standard set by the classic school 
of historical painting (in which he was the leading figure) placed mere 
portraiture far below composition and theme. We may note that as late 
as 1834, when Dunlap wrote his book, while freely admitting Stuart’s 
superiority over West as a portrait painter yet he speaks of historical 
painting as the “higher branch of the art.” Stuart’s view was that “no 


32. At the time a fashionable proprietary by James Greig, London, 1923, Vol. II, 
chapel, now St. Saviour’s, Fitzroy n. page IIT.) 
Square. (The “Farington Diary,” edited 


33 


GILBERT STUART 


man ever painted history if he could obtain employment in portraits.” 

Trumbull mentions Stuart in his Autobiography only once or twice, 
but then Trumbull was ever a little jealous of Stuart, whose genius so far 
outstripped his own and indeed that of any of his countrymen—Copley 
alone excepted—and, in addition, the differences between the two 
were fundamental. Trumbull aspired to be the historical painter of the 
American Revolution; Stuart seems to have had a poor opinion of his- 
torical painting and to have early discarded the accessories required by 
that school in most of his portraits and concentrated on the head alone. 

In addition to West’s teaching, Stuart attended the anatomical lec- 
tures of Doctor Cruikshank, the lectures of Sir Joshua Reynolds, copied 
old masters in the School of the Antique in Somerset House, drew at the 
life school in the evenings and occasionally painted on his own account. 
He made three contributions to the Royal Academy of 1779g—one a 
fine portrait of James Ward; two in the Exhibition of 1781, those of 
Mr. West and Doctor Fothergill; and four in the Exhibition of 1782, 
those of Caleb Whitefoord, Mr. D. Serres, the “Portrait of a Gentle- 
man Skating,” and one unidentified. His address in the catalogues is 
given as “at Mr. West’s in Newman St.” 

The “Portrait of a Gentleman Skating”? is, of course, his famous full- 
length of his friend, William Grant of Congalton, representing him as 
skating on the Serpentine in St. James Park. Fraser tells us of the sensa- 
tion that this portrait made upon its exhibition at Somerset House and 
that it brought Stuart fully to the attention of the public. A sidelight on 
its excellence may be gained by its effect on Horace Walpole in whose 
annotated catalogue of the Exhibition belonging to Lord Rosebery, 
appears his note “very good.” This is high praise from so seasoned a 
critic as Walpole. The date upon which Stuart left West’s studio has been 
a matter of some uncertainty. Dunlap says that he could state the time by 


34 


GILBERT STUART 


quoting from a letter before him from Mrs. John Hoppner® dated 
June 3, 1782, which in part is as follows: 


“Today the exhibition closes. . . . Stuart has taken a house, I am told, of £150 
a year rent, in Berner’s Street, and is going to set up as a great man.” 


The catalogue of the Royal Academy Exhibition of 1782 gives 
Stuart’s address as “At Mr. West’s,” so that it was no doubt the success 
of the Grant portrait and the advice of West, Dance® and others which 
decided Stuart to start on his own account shortly after the closing of 
the exhibition. 

Stuart gained under West’s guidance much more than mere facility 
with his brush; he had come to West a raw provincial youth, with few 
associates except those whom Waterhouse could provide. At once he 
came into daily intercourse with the Court painter; a man who was the 
familiar associate of the King, welcome in the court circle and the lead- 
ing figure in the art of his day. West’s studio was not alone filled with 
patrons belonging to the fashionable set, but thronged as well with those 
who considered themselves the Cognoscenti and the many who follow 
the fashion of the hour. It was this association, covering about five years, 
which must have done much to develop in Stuart that vigorous intellect, 
the easy and graceful manners and the unusual conversational powers 
for which he became noted. Throughout his life Stuart always spoke of 


33. Phoebe Wright, daughter of Patience been the fact, when all any “authority” 
Wright, the American sculptress in had to do was to check at the source to 
wax, who married the English portrait disprove the statement. 
painter, John Hoppner. 

34. Dunlap, page 223. Mason misquotes 35. Stuart told Fraser that in conversation 
Dunlap as saying that Stuart started for with Dance, the latter remarked, “You 
himself in 1788. As all the so-called au- are strong enough to stand alone—take 
thorities seem to have copied Mason in- rooms—those who would be unwilling 
dustriously, much valuable ink has been to sit to Mr. West’s pupil, will be glad to 
wasted to prove that this could not have sit to Mr. Stuart.” (Dunlap, page 215.) 


35 


GILBERT STUART 


West with the highest regard and with full recognition of how much he 
owed to him and he realized that when West saw that he was equipped, 
he advised him to begin his professional career. It is uncertain how long 
Stuart remained in Berners Street as he did not exhibit at the Royal 
Academy in 1783 or 1784 and the Directories are silent. In the exhibit 
of 1785 his address is given as New Burlington Street, where it is be- 
lieved he lived until he went to Ireland.” 

Immediate success attended his decision to start for himself. Too 
much importance cannot be given to Dunlap’s statement on this point 
as he was in London at the time (1784-1787) ostensibly studying under 
West and the information is first-hand and no doubt reflects the gossip 
of the studios.” He says, “Mr. Stuart had his full share of the bust busi- 
ness in London, and prices equal to any, except Sir Joshua Reynolds 
and Gainsborough.” Again, 

“We have followed Mr. Stuart’s eccentric course until we have brought him to 
the highest seat a portrait painter wishes to fill—that of a fashionable and leading 
artist in the great metropolis, where portrait painting has been carried to its high- 
est perfection. In 1784, and the years immediately succeeding, I saw the half 


lengths, and full lengths of Stuart occupying the best lights, and most conspicuous 
places at the annual exhibitions of the Royal Academy.”* 


36. A letter from Mr. Cuffe and Lady most of his time with an “eating and 
Maxwell asking for an appointment is drinking” club to the neglect of his art 
addressed “Mr. Stewart N. 7 Eustice studies, his father, a New York mer- 
Street.” It bears date February 11th, chant, called him home in August of 
but no year. (Collection of Historical 1787. (“William Dunlap,” by O. S. 
Society of Pennsylvania. ) Coad, 1917, page 28.) 

37. Dunlap reached London in June of 38. Dunlap, page 226. 

1784, and immediately introduced him- Stuart’s fame had by this time spread 
self to West. He apparently did little across the Atlantic. In a review of the 
for the first year but engage in sight- Royal Academy Exhibit for 1785, pub- 
seeing and make the rounds of the thea- lished in The New York Gazetteer and 
ters and galleries. He was an associate The Country Journal, December 6, 
of West’s son, Rafael, and as he spent 1785, appears the following: “Copley 


36 


GILBERT STUART 


Another interesting sidelight showing the high contemporary opin- 
ion of Stuart’s work, only two years after he had started on his own 
account, appears in a letter from William Temple Franklin, dated 
London, November 9, 1784, to his grandfather, Benjamin Franklin. 
In explaining his delayed return, he says: 


“T am afraid you will think me tedious in returning home, & I begin to think it 
myself, & can assure you I have no desire of staying longer here, & I should in all 
probability, have got away this week, had not my father expressed a great desire 
that I would sit to Stewart, who is esteemed by West & everybody, the first portrait 
painter now living: he is moreover an American. I have seen several of his per- 
formances, which appeared to me very great indeed! He is astonishing for like- 
nesses. I heard West say ‘that he maz/s the face to the canvass,’ by which he meant 
I believe to express, not only that the resemblance of the person was perfect, but 
that his colouring did not change; a fault common to some of the first painters in 
this country, & particularly to Sir Joshua. I am to begin sitting tomorrow, & 
Stewart has promised to make all possible dispatch. He hopes to finish the prin- 
cipal parts by Monday; if so, the day following:I shall endeavour to get away; 
provided I can in the meantime make another visit to your good friends Mr. & 
Mrs. Sargent.” . 


has painted a capital group of the three liam Kelby, New York, 1922, page 25.) 
youngest princesses; we could wish that In Graves’ list of exhibitors in the 
the background had been more subordi- Royal Academy: Copley’s portrait is 
nate and that his eye had been attentive described as that of “Their Royal High- 
to the greatness of distribution which nesses Princess Mary, Princess Sophia 
alone constitutes fine art. West has and Princess Amelia” (now in Bucking- 
brought forward another of his suites ' ham Palace); West’s as “Landscape 
of Windsor pictures. Indeed we must representing the country near Wind- 
confess the exhibition much obliged, not sor”; “St. Peter’s first sermon after be- 
‘only to those gentlemen, but to the two ing filled with the Holy Ghost,” and 
other ingenious American artists, Stuart “The Lord’s Supper,” the latter two 
and Brown, who have this year distin- having been painted “for His Majesty’s 
guished themselves, and given great Chapel, Windsor Castle.” 
proofs of their promising abilities: Stu- Stuart’s three portraits were those of 
art sends three, among which, the naval Admiral Lord Barrington, Captain Gell 
officer holds a conspicuous rank; Brown and Lord Dartry. 
exhibits six, some of which are the most 39. Collection of the American Philosoph- 
pleasing female portraits in the room.” ical Society, Vol. 32, page 168. (Refer- 


(“Notes on American Artists,” by Wil- ence furnished by George S. Eddy, Esq. ) 


av 


GILBERT STUART 


Stuart was engaged by the engraver Boydell to paint many portraits 
of artists and engravers for his Shakespeare Gallery and this was no mean 
distinction as Boydell employed only the first painters of the day.” 
Stuart painted Reynolds, Copley, Gainsborough, Ozias Humphry, 
West, the engravers Woollet and Hall, the latter three now in the Na- 
tional Gallery, London (West’s celebrated painting, “The Death of 
Wolfe,” appearing in the left background of the Woollet portrait; and 
Hall is holding a print of West’s ““Penn’s Treaty with the Indians”). In 
the National Portrait Gallery are John Philip Kemble, Mrs. Siddons, 
Colonel Isaac Barré, a second portrait of West and a late addition is one 
of the portraits of Washington of the Athenzum type. Stuart painted 
also George III, Queen Charlotte, the Prince of Wales, the Dukes of 
Manchester and of Leinster, the Ear] of Carnarvon (on which he col- 
laborated with Gainsborough), George, Marquis of Townshend, the 
Earl of Devon, Viscount Sydney, the Admirals Lord Barrington, Sir 
Robert Calder, William Hotham and Pringle, Chancellor Sir Beaumont 
Hotham, Doctor John Hotham, Lord Bishop of Clogher, General 
George Hotham, the Chevalier D’Eon, Heath, Henderson, the actor, 
and Captain Richard Pearson of the Serapis, etc., etc. Mezzotints of 
many of his portraits of this period by Valentine Green, Hodges, Hall 
and Ward bear unmistakable evidence of his popularity as a portrait 
painter. 

Stuart was thirty years old when he was married by the Reverend 
Springate on May 10, 1786, in Reading, Berkshire, to Charlotte Coates, 
then but eighteen, the daughter of a physician, and the family state that 
she had much personal beauty. Stuart had become intimate with her 


40. Boydell used the term “Shakespeare catalogue which composed the stock on 
Gallery” not only asa title for his well- hand of John and Josiah Boydell (Lon- 
known issue of prints illustrating the don, 1803), the address is at the “Shake- 
plays but as an address as well. In the speare Gallery, Pall Mall.” 


38 


GILBERT STUART 


brother, who attended the lectures of Doctor Cruikshank at the same 
time with himself and for several years paid his court to her, but Doctor 
Coates, while admiring his genius, was fully aware of his unbusiness- 
like habits and opposed 
ly, as did all the family. 


the marriage strenuous- 

The marriage seems, 
however, to have been a happy one, and twelve 
children were born of the union, of whom at 
least two were born in England and of whom 
only two showed the \ 


father’s genius; a son, 


slightest trace of their 
Charles Gilbert (whose 


dissipation caused _ his father much disappoint- 





ment), was a landscape painter, but he died at 


GILBERT STUART 


the age of twenty-six; From she miniaure by Sarak Goodridge, and hisyoungest daugh- 
owned by Mrs. Josiah Quincy, 

ter, Jane,who, although Boston, Mass. she devoted a long life 
to painting, yet was never able to raise her art above the mediocre.” 

Many stories are told of Stuart’s extravagance during his London 
period, but we think that Jane Stuart, while quite properly suppressing 
much detail, strikes near the fitting note in saying that his clientele re- 
quired the elegance of his dress, the costliness of his establishment, the 
many entertainments given to his friends and the musical parties in 
which he took a prominent part. She concludes that his mode of life 
cannot be called extravagant because his many commissions warranted 
the outlay and his distinction among artists entitled him to it. 

No doubt the London of that day demanded a certain amount of 
showin the home of one of its leading and fashionable painters and costly 
entertainment was the fashion, as the many biographies of the period 


41. Her art has been aptly characterized by (“One of Thackeray’s Women,” by T. 
saying: “She inherited her father’s love W. Higginson, Boston, 1909, page 190.) 
of the brush but none of his talent.” 


39 


GILBERT STUART 


clearly evidence, and the result was that Stuart, utterly untrained in the 
use of money, failed to order his new-found success. Many anecdotes 
are told bearing on this subject, but none are worth repeating, as they 
illustrate merely what the writer has before referred to as a minor defect 
in Stuart’s character and have little to do with his art. His early biog- 
raphers, Waterhouse and Dunlap, led astray by the false standards and 
mock morals of the age in which they wrote, have exaggerated these 
details out of all proportion to their importance and his later biog- 
raphers have been content merely to copy their “moralizings.” 

Many reasons are assigned as the cause of Stuart’s move to Ireland; 
according to the family, he went on the invitation of the Duke of Rut- 
land in order to paint his portrait, and if, as Miss Stuart states, he entered 
Dublin on the very day of the Duke’s funeral, this fixes the date as the 
latter part of October, 1787, several months earlier than the time usually 
assigned.” 

Stuart was as popular and as successful in his profession in Ireland as 
he had been in England. Among the portraits painted in Ireland are 
those of John Fitzgibbon, Earl of Clare and Lord Chancellor of Ireland, 
the Very Reverend William Preston, Bishop of Kildare, Euseby Cleaver, 
Bishop of Cork and later Archbishop of Dublin, half-lengths of the 
Right Honorable John Beresford, Lord Lurgan and William Burton 
Conyngham, afterwards the noted Lord Plunket—all members of the 
Privy Council for Ireland, a whole-length of the Right Honorable John 
Foster, later Baron Oriel of Ferrard, Speaker of the Irish House of 
Commons, the Marchioness of Dufferin, the Earl and Countess of Nor- 


42. The fourth Duke of Rutland, who had Another reason given wide currency 
been a patron of Stuart in London, was is that Stuart left London to escape his 
appointed Lord Lieutenant of Ireland creditors. 


in 1784 and died at Phoenix Lodge, 
Dublin, on October 24, 1787. 


40 


GILBERT STUART 


manton and the Earls of Bective, of Moira, of Clonmell, and of Macart- 
ney; Lord Dartrey, Hugh Hamilton, Viscount De Vesci, Viscount 
Pery, the Bishop of Ossory, Sir William and Lady Barker, Sir John Dick, 
Hugh Carleton, Chief Justice of the Common Pleas, and George Ham- 
ilton, Baron of the Exchequer, etc., etc. Two of the above are in the 
National Gallery of Ireland.“ The fact that so excellent an engraver as 
Hodges journeyed all the way to Dublin to engrave his portraits is 
another proof of his standing as an artist. 

Stuart resided for a time in Pill Lane, Dublin, and later moved to Still- 
_ organ Park, in the village of Stillorgan, a suburb of Dublin. The Direc- 
tories from 1787 to 1792 give as residents only a list of merchants and 
tradesmen, but as there were numerous seats and villas in the neighbor- 
hood, Stuart no doubt leased one of these, as both Herbert and Stuart’s 
daughter tell of how he occupied his spare time in farming and gar- 
dening. 

Jane Stuart states that her father was delighted with the society he met 
in Ireland, the elegant manners and the hospitality of the upper class of 
Irish society suited his genial temperament, and she concludes: “I am 
sorry to say Stuart entered too much into these convivialities.” She also 
writes that she never could get her mother to discourse much upon the 
experiences of these days, as “it gave her pain to remember anything 
associated with his reckless extravagance, or what she called his folly.” 
Those interested in further details may consult Dunlap or Herbert," the 
source of most of the stories regarding Stuart’s stay in Ireland. 

Herbert, himself a painter, tells us that at the time Stuart arrived in 


43. “Dictionary of Irish Artists,” by W. G. Strickland, Dublin and London, 1913, pages 


413-416. 
44. “Irish Varieties” (supra). 


AI 


GILBERT STUART 


Dublin: “Home* had possession of all the fashionable practice; but 
Stuart’s work paralyzed Home’s efforts, and he left Dublin and the field 
to Stuart.” 

Stuart ably filled this field and during his stay of five years was without 


a peer. 


Third Period— Life in America 
1793-1828 


TUART left Ireland probably late in 1792 or early in 1793, as the 

Dublin Chronicle for March 19, 1793, alludes to his having left the 
Kingdom.” He is said to have painted the portrait of the owner of the 
ship, one John Shaw, a wine merchant of New York, in pay for his pas- 
sage and he had as a companion Walter Robertson, an Irish painter, 
who later copied many of Stuart’s portraits in miniature. The commonly 
received tradition that Stuart was induced to return to his native land by 
reason of his “love for his own country” and his deep “admiration for 
General Washington,” which created in him the desire to paint his por- 


45. Robert Home,a pupil of Angelica Kauff- 46. The notice is as follows: 


mann, exhibited in the Royal Academy “Dublin” 

of 1771, 1772 and 1778. In the latter “Mr. Stewart’s quitting this Kingdom 
year he went to Dublin and remained for America gives a fair opening for the 
until 1789, when he sailed to India and abilities of Mr. Pack, who now stands 
became “Court Painter” to several of unrivaled as a portrait painter.” 

the local princes. He sent a number of Pack, a mediocre painter, had been 
historical paintings to the Academy of entirely overshadowed during Stuart’s 
1797, one of which is in Hampton stay in Ireland and his pretentious bear- 
Court. ing ridiculed by Stuart as well. W. G. 


Strickland suggests to the writer the 
possibility of Pack’s being responsible 
for the insertion of the notice as it is the 
sort of thing Pack would do to advertise 
himself. 


42 


GILBERT STUART 


trait, has little foundation in fact. The story had its origin ina letter from 
Anne Stuart to James Herring, which Dunlap had before him while 
writing his lite of Stuart and from which he quoted the statement.” 
When this story first appeared, the fashion of the day demanded that 
some sentimental or moral motive should be assignedasthe moving cause 
for the most ordinary acts of life. The pious reasons for Stuart’s return 
asserted by Dunlap, therefore, had only to be suggested to be seized 
upon with avidity by the writers of an age which abounded in “Gift 
Books” filled with strictly moral tales and more or less adorned with 
“ideal heads.” It is almost grotesque to read some of the maunderings 
on this subject inspired by Dunlap’s statement. Tuckerman fills several 
pages.with the high-flown periods so dear to the hearts of the Mid- 


Victorians, claiming that Stuart’s 


“‘most cherished anticipation when he left England for America, was the execu- 
tion of a portrait of Washington—cherishing, as he did, the greatest personal ad- 
miration for his character. His own nature was more remarkable for strength than 
refinement; he was eminently fitted to appreciate practical talents and moral 
energy; the brave truths of Nature, rather than her more delicate effects, were 
grasped and reproduced by his skill; he might not have done justice to the ideal 
contour of Shelley, or the gentle features of Mary of Scotland, but could perfectly 
have reflected the dormant thunder of Mirabeau’s countenance and the argumen- 
tative abstraction that knit the brows of Samuel Johnson. . . . 

“Instinctive, therefore, was his zeal to delineate Washington; a man who, of all 
the sons of fame . . .,” etc., etc.” 


47. Dunlap, page 228. Herring and J. B. 48. Henry T. Tuckerman was so pleased 


Longacre published in the “National with this that he published it twice: 
Portrait Gallery” (Vol. I, 1834), a life (1) “The Character and Portraits of 
of Stuart. This was written by Dunlap Washington,” New York, 1859, page 
in abridged form from his own life of 52; (2) “Book of the Artists,” New 
Stuart in the “Arts of Design.” (“Wil- York, 1867, Vol. I, page 115. 

liam Dunlap,” by O. S. Coad, page 

259.) 


43 


GILBERT STUART 


There is no evidence that Stuart had any particular regard for Wash- 
ington, and indeed, with his Tory background, his life abroad of nearly 
twenty years among America’s enemies, and his marriage to an English 
woman, there is no reason why he should have had any feeling for him 
whatsoever, except to share the universal respect and admiration which 
his character inspired. 

Herbert seems to assign the impelling motive in his statement that 
Stuart confided to him that after he had finished some of his sittings in 
Dublin he intended to go to America: 


“There I expect to make a fortune by Washington alone. I calculate upon 
making a plurality of his portraits, whole lengths, that will enable me to realize; 
and if I should be fortunate, I will repay my English and Irish creditors.” 


This is corroborated in a draft of a letter to the Marquis of Lansdowne 
found among Stuart’s papers protesting against the unauthorized publi- 
cation of the Heath engraving of his portrait of Washington belonging 
to the Marquis, in which Stuart said: 


““As a resource to rescue myself from pecuniary embarrassment, and to provide 
for a numerous family at the close of an anxious life, I have counted upon the 
emoluments that might arise from a portrait of George Washington, engraved by 
an artist of talent.”*° 


Stuart landed in New York some time early in 1793 and his success in 
America far exceeded any he had yet achieved and speaks well for the 
artistic appreciation of our forefathers. He had left his native land a 
youth of nineteen, unknown except to the local community around 
Newport; he returned a great portrait painter whose fame was estab- 


lished. 


49. “Irish Varieties,” supra, page 248. Washington,” by Mantle Fielding, 
50. Quoted in “Gilbert Stuart’s Portraits of Philadelphia, 1923, page 95. 


44 





GILBERT STUART 


From the miniature on ivory by Anson Dickinson, owned by the 
New York Historical Society 
(Size of the original: 3x 2% inches) 


45 


GILBERT STUART 


Dunlap was living in New York at this time (1793),” so that his esti- 
mate of Stuart’s success in first-hand. He says that Stuart 


“opened an a¢telzer in Stone Street, near William Street,** where all who admired 
the art or wished to avail themselves of the artist’s talents, daily resorted. It ap- 
peared to the writer as if he had never seen portraits before, so decidedly was form 
and mind conveyed to the canvas; . . . In New York, as elsewhere, the talents 
and acquirements of Mr. Stuart introduced him to the intimate society of all who 
were distinguished by office, rank or attainment; and his observing mind and 
powerful memory treasured up events, characters and anecdotes, which rendered 
his conversation an inexhaustible fund of amusement and information to his sit- 
ters, and his companions.”*° 


Doctor William Samuel Johnson, in his scarlet hood of a Doctor of 
Civil Law (Oxford, 1776), is said to have been the first portrait painted 
after his return and it bears on the back the legend: “By Stewart 1792,” 
but the date is probably only approximate. He also painted John Jay in 
his robes as Chief Justice of the Supreme Court of the United States, 
General Horatio Gates, John Jacob Astor, Chancellor Robert R. Liv- 
ingston and his mother, née Margaret Beekman, General Mathew Clark- 
son, Colonel Aquila Giles, Lawrence Yates and his wite (Matilda Caro- 
line Cruger), Don Josef de Jaudenes and his wife (Matilde Stoughton), 
etc., etc. The last two, now in the Metropolitan Museum, are lettered, 
“G. Stuart R. A., New York, September 8, 1794.” There is a tradition 
that his brother-in-law, Honorable Henry Newton, invited him to 
paint the portrait of the Duke of Kent (father of Queen Victoria) and 
that the Duke offered to send a warship in which to transport him to 
Halifax, but Stuart preferred to remain where clients were many, 
although he ever after bemoaned this decision. We catch occasional 


51. Dunlap had temporarily abandoned deserved death) and was never heard 
painting for play-writing, and his first of more.” (“American Theatre,” page 
comedy, “The Miser’s Wedding,” was 103.) 
produced in the spring of 1793. He 52. This would indicate a studio near the 
says it “was played without study or re- present site of India House. 


hearsal.” “The piece was murdered (it 53. Dunlap, page 229, 230. 


46 


GILBERT STUART 


glimpses of him in the letters of the period, such as the reference of 
Mrs. John Jay that Mr. Stuart arrived at tea time with her husband’s 
portrait and her satisfaction with it. Mrs. Jay calls it “an inimitable 
picture,” and writes that Stuart “begged me to remind you of the 
promise you made him the day he breakfasted with you. There is an 
excellent engraver in New York and Stuart has been solicited to permit 
him to copy that portrait of yours by a very respectable number of cit- 
izens for which reason he asked and obtained my consent.” On the 
whole, very little gossip has come down to us, connected with the 
painter’s stay in New York, but the number of his portraits and the social 
importance of his clients fully justify Dunlap’s statements. 

Weare able to fix the date of Stuart’s migration to Philadelphia almost 
to the day. On November 15, 1794, Mrs. Jay wrote to her husband that 
“in ten days hence he (Stuart) is to go to Philadelphia to take a likeness 
of the President.” If Stuart looked upon Washington merely as a sub- 
ject out of whose portraits he could make money and if in the meantime 
he was fully employed, this would explain his two years’ residence in 
New York. In addition, Stuart’s fame had preceded his landing in that 
city and he immediately received numerous commissions; as soon as 
these were completed he would quite naturally turn to Philadelphia, 
where, in the fall of 1794, were gathered most of those connected with 
the Federal Government, and at the top of the world of fashion was the 
“Republican Court” presided over by “Lady” Washington,” for Stuart 
had great social gifts and made it his practice to associate with the leaders 
of intellect and fashion in each land in which he resided. 


54. InThe Argus, or Greenleaf’s New Daily briel Stewart (sic) and the late Joseph 
Advertiser of September 16, 1795, there Wright.” (See “Notes on American 
was announced the proposal to publish Artists,” Kelby, page 38.) 
engravings by Cornelius Tiebout of Jay 55. The Session began on November 19, 
and Clinton “Taken from original paint- 1794, when Washington met both houses 
ings of our celebrated countrymen Ga- and delivered his address. 


47 


GILBERT STUART 


Hart says that Doctor William Smith, the first Provost of the Univer- 
sity of Pennsylvania, gave the artist a home in which to live on his own 
place at the falls of the Schuylkill, and a painting room on the southwest 
corner of Fifth and Chestnut Streets, Philadelphia, in the house of his 
son, William Moore Smith, a poet and lawyer of high standing, but 
Washington’s letter dated Monday evening, April 11, 1796, enquiring 
as to an appointment for the following morning, is addressed to “Mr. 
Stuart, Ches* Street,” and Miss Stuart says he resided there, and it seems 
likely that he lived on the Schuylkill only temporarily, to avoid an epi- 
demic of yellow fever which broke out in the city in 1798. 

Stuart’s Philadelphia period is important by reason of the brilliant 
series of women’s portraits which he there completed. It has always been 
conceded that Stuart was an incomparable painter of old men, but many 
portraits painted at this time entitle him to high rank as a painter of 
women. Of these, the portraits of Mrs. Samuel Blodget (Rebecca Smith), 
Mrs. William Jackson (Elizabeth Willing), Mrs. James Greenleaf (Ann 
Penn Allen), and Elizabeth Bordley now hang in the Pennsylvania 
Academy of the Fine Arts. Others to be noted are Mrs. Washington, 
Mrs. William Bingham (Anne Willing), the Marchioness D’Yrugo 
(Sally McKean), Mrs. Joseph Anthony (Henrietta Hillegas), Lady 
Erskine (Frances Cadwalader), Mrs. Robert Morris, Mrs. Lawrence 
Lewis (Eliza Parke Custis), Mrs. Henry Clymer (Mary Willing), Mrs. 
Robert E. Griffith (Maria Patterson), Mrs. John Travis (Elizabeth 
Bond), Mrs. George Plumstead (Anna H. A. Ross), and Mrs. Samuel 
Gatliff (Elizabeth C. Griffin).® 

But beyond this his residence in Philadelphia will always be memor- 
able because it was in that city that he painted his first and most impor- 


56. See frontispieces to Volumes II and IV, and plates Nos. 18, 55, 65, 104, 165, 169, 191, 
2.12, 219, 294, 339, 396, 531 and 551. 


48 


GILBERT STUART 


tant portrait of Washington. This portrait shows the right side of the 
face and is known as “The Vaughan Type.”” It takes its name from 
the fact that the first engraving from a portrait of this type done by 
T. Halloway was published in London, November 2, 1796, from one 
then owned by Samuel Vaughan, the plate stating that the portrait was 
painted by “Mr. Stuart in 1795.” Ina life of Stuart there is little place 
for a discussion of the question of the date when his first portrait of the 
President was painted. ‘The fact becomes important only in determin- 
ing which of the known replicas may be the original from life. Dunlap 
states that it was painted in 1794, Jane Stuart “towards the spring of 
1795,” Timothy Williams “in ye winter season,” and Rembrandt Peale 
says “at the same time as his own” (i.e., September, 1795), but all these 
statements were made many years after the event, and if painted in Sep- 
tember it must have been between the 1st and 8th, as Washington left 
Philadelphia on the latter day for Mount Vernon. Among the few papers 
Stuart left was a memorandum in his own handwriting, dated April 20, 
1795, showing “A list of the gentlemen who are to have copies of the 
portrait of the President of the United States,” and following are the 
names of thirty-two subscribers calling for thirty-nine copies. We 
know from Mrs. Jay’s letter that Stuart went to Philadelphia for the 
purpose of painting the portrait in November, 1794, and Dunlap says 
that he presented a letter of introduction to the President shortly after 
his arrival. G. W. P. Custis says that the exhibition of Stuart’s first por- 
trait of the President caused ‘‘a great sensation in Philadelphia,” which 
might naturally create a demand, and it would seem that a list of orders 
dated April, 1795, for thirty-nine “copies” would presuppose that the 
portrait was then in existence and makes out at least a prima facie case 


57. Examples of this type are reproduced as frontispiece to Volume I and on plates 597, 
598, 599 and 600. 


49 


GILBERT STUART 


for “towards the spring of 1795,” but no conclusive proof has come to 
the writer’s attention. Portraits of the Vaughan type are the most im- 
portant of the Stuart Washingtons, and of it he made about fifteen 
replicas. 

Stuart’s second life portrait of the President™ is a whole-length known 
as the “Lansdowne Type,” taking its name from the frst engraving made 
by James Heath of a portrait of this type then owned by the Marquis of 
Lansdowne. This was published in London on January 1 and Febru- 
ary 1, 1800. The portrait was begun on April 12, 1796. The original, 
signed and dated “G. Stuart 1796,” is now in possession of the Pennsyl- 
vania Academy of the Fine Arts. There are two known replicas: one 
painted for the Marquis of Lansdowne and now owned by Lord Rose- 
bery, and one owned by the Pierrepont family.” There are at least two 
others claimed to be by Stuart. This portrait shows the left side of the 
face, and, as Hart points out, the pose and accessories are taken almost 
bodily from ‘‘Rigaud’s portrait of Bossuet, made familiar by the engrav- 
ing of Drévet.” Heath’s engraving, which was made without permis- 
sion, always caused Stuart to flame into rage; he claimed that he had 
directed William Bingham, when delivering the portrait to the Marquis, 
to preserve for him his copyright and that the first knowledge that he 
had of this engraving was, a few weeks after Washington’s death, when 
he saw copies on sale at Dobson’s book store on Second Street, Phila- 
delphia. As Washington had been dead but a short time, and as Stuart 
himself was preparing to engrave the portrait, his anger was justified.” 


58. See plate No. 601. 60. Philadelphia Aurora, June 12, 1800, 
59. See “Stuart’s Lansdowne Portrait of contains the following announcement: 
Washington,” by.C. H. Hart, Harper's “WasHincton. Gilbert Stuart having 
Magazine, August, 1896, page 378, for been appointed by the Legislatures of 
a full discussion of which of the three Massachusetts & Rhode Island to pre- 
portraits of this type was painted from pare full length Portraits of the late 
life. General Washington, takes this mode to 


50 


GILBERT STUART 


Stuart’s third portrait of Washington” painted from life is known as 
the “Atheneum Type.” This portrait, painted upon the order of Mrs. 
Washington, probably in the fall of 1796, was retained unfinished by 
Stuart throughout his life. It takes its name from the fact that in 1830 
the Stuart family sold it, together with the companion portrait of Mrs. 
Washington, for one thousand five hundred dollars to the Washington 
Association. It was later presented to the Boston Atheneum, which in 
turn loaned it to the Boston Museum of Fine Arts, where it has hung 
for nearly a century. 

One almost insurmountable difhculty which faces a student of the 
portraits of Washington is that practically every one persists in thinking 


apprise the citizens of the United States 
of hisintention to Publish Engravingsof 
General Washington, from the Mount 
Vernon Portrait, executed, upon a large 
scale, by an eminent Artist. 

“This advertisement (which has been 
suspended from motives of delicacy to- 
wards the afflicted family of Mount 
Vernon), is deemed to be peculiarly 
necessary, as Mr. Stuart has the morti- 
fication to observe, that without any re- 
gard to his property, or feelings, as an 
Artist, an engraving has been recently 
published in England; and is now of- 
fered for sale in America, copied from 
one of his Portraits of General Wash- 
ington. 

“Though Mr. Stuart cannot but com- 
plain of this invasion of his Copyright 
(a right always held sacred to the Artist, 
and expressly reserved on this occasion, 
as a provision for a numerous family ) 
he derives some consolation from re- 
marking, that the manner of executing 
Mr. Heath’s engraving, cannot satisfy 
or supercede the public claim, for a cor- 
rect representation of the American 
Patriot. 


SI 


“He therefore, respectfully solicits 
the assistance of the public on the fol- 
lowing conditions: 

“1. That a full length engraving of 
General Washington, shall be delivered 
to each subscriber at the price of Twenty 
Dollars. 

“9. That towards defraying the ex- 
penses of the work, each subscriber shall 
pay in advance the sum of Ten Dollars, 
and the remainder of the price on the 
delivery of the print. 

“Subscription Papers, containing a de- 
scription of the Print and the size in- 
tended, will be ready in a few days. 


“ApaMs & JEFFERSON. 

“Mr. Stuart informs the public that 
engravings from his Portraits of the 
President and Vice-President are like- 
wise preparing, under his immediate di- 
rection, and will be published in the 
course of a few weeks.” 

(Reference furnished by Alfred E. 
Prime, of Philadelphia.) 


61. See plate No. 604. 


GILBERT STUART 


of him only in the terms of Stuart’s “Atheneum” head, which is so 
familiar that it has been dubbed the “household Washington.” John 
Neal said that if Washington should return to life and stand side by side 
with this portrait and not resemble it, he would be called an imposter.” 
People lose sight of the fact, or do not know, that Stuart never saw 
Washington until he was sixty-three years old, and after he had lost his 
teeth, which circumstance entirely changed the shape of his face and 
his expression as well.” In addition his giant frame was breaking as the 
result of his long public service, and he was old beyond his years. Be- 
cause of the popularity of the “Athenzeum” head made familiar to us by 
print and engraving, for years on the postage stamps of the nation and 
now upon its currency, * most people refuse to believe that Washington 
looked at any time throughout his life other than as Stuart represented 
him in the “Atheneum” head, whereas the fact is that this portrait 
depicts Washington in his decline. As this head is not only one of the 
most widely known of portraits but is also the most famous of Stuart’s 
works, considerable space may be allotted to it in a sketch of the life 
of the artist. 


62. “Our Painters,” by John Neal, Atlantic 64. Hart in his “Catalogue of the engraved 


Monthly, December, 1868, Vol. 22, Portraits of Washington,” New York, 
page 645. 1914, records 300 separate engravings 
from this portrait not counting different 
63. Both G. W. P. Custis in his “Recollec- states of the same plate. When the num- 
tions,” New York, 1860, and Charles ber of wood cuts and photographs are - 
Fraser in his “Reminiscences” speak of considered, and also the fact that be- 
the great change in Washington’s ap- tween 1847-1904 of the 164 United 
pearance after 1791. Fraser (page 20) States postage stamps in general use, 25 
says: “After this period (1791) age and bear this portrait and that the United 
increasing care altered the General’s ap- States revenue stamps and paper money 
pearance, besides, the use of false teeth; have always used this head, it is a fair 
so that when Mr. Stuart painted him in assumption to say that it has been repro- 
1794 in his presidential suit of black vel- duced countless times and through the 
vet and with powdered hair, he looked generations become familiar to millions 
like a different person.” of Americans. 


52 


GILBERT STUART 


All critics agree on Stuart’s genius as a delineator of character and 
that when his interest was aroused he could see beneath the surface and 
catch and paint the inmost soul of his subject. In considering, then, the 
“A thenzeum” head, one should recall the events of the time when it was 
painted, to note their effect upon Washington. 

In the year 1796 Washington passed through the most trying expe- 
rience which any public man can be called upon to bear; from being the 
National hero, he had become a hissing in the mouths of the unthinking 
multitude. The climax of the troubles of his administration had been 
almost reached the spring before when the attacks of Freneau, fostered 
by Jefferson, had become well-nigh intolerable, but barely had neutral- 
ity as between France and England been preserved by Washington at 
the cost of his popularity when arose the outburst of the mob against the 
treaty with Great Britain negotiated by John Jay. 

“Once only in our history have the American people so scourged a great public 


servant. . . . Present-day detraction of our public men is gentle reproof con- 
trasted with the savagery, with which Washington was thereafter assailed.” 


As Washington’s term drew toa close in the autumn of 1796 there was a 
downpour of Jeffersonian abuse. He was called a miser, an aristocrat, an 
oppressor of the many for the enrichment of the few, and even a thief 
and a murderer. His enemies declared that he had been a traitor to the 
cause of the Revolution and to prove the charge, resurrected an ancient 
slander supported by forged letters. Jefterson’s organ, the Aurora, 
declared the day of Washington’s retirement 


“ought to bea Jubilee in the United States.” 


Washington himself wrote that he could not have believed that every act 
of his administration would be tortured and the erossest and most insid- 
ious misrepresentations made of them, 


53 


GILBERT STUART 


“and that too in such exaggerated and indecent terms as could scarcely be applied 
to a Nero, a notorious defaulter—or even to acommon pickpocket.” 

John Adams wrote (March 1, 1796) to his wife that Washington’s 
heart was set upon retirement “and the turpitude of the Jacobins (i.e., 
followers of Jefferson’s pro-French party) touched him more nearly 
than he owns in words.” 

Washington ever may have preserved his calm and apparently un- 
ruffled demeanor but he would have been more than human had he not 
suffered and resented the wicked libels and slanders that were heaped 
upon him. 

This was the Washington whom Stuart painted. It was the Washing- 
ton who, having achieved world fame in middle life, had been forced to 
drink the bitter cup of disillusionment as to the value of popular acclaim. 
It was Washington, heart sick and old before his time, longing for the 
day when he could lay down his burdens, whom Stuart caught upon this 
canvas. It is one of the saddest portraits ever painted. 

Up to the present about 75 copies of this portrait are considered as by 
Stuart, but as early as 1876 Jane Stuart complained that copies of this 
portrait by other hands were even then being sold as by her father. 
Whenever Stuart was in need of money he made a copy of this head, but 
many of them, as Miss Stuart says, were “nothing but sketches,” and 
that he probably painted two at a time, “that is, an hour on each in two 
mornings.” We know that Winstanley, Rembrandt Peale, Vanderlyn, 
Frothingham, Chapman, Wall, Fraser, Jane Stuart herself, and others 
made a fair living by copying this head, as well as Stuart’s other portraits 
of Washington and without doubt many of the so-called “Stuarts” are 


from among these. 
65. The quotations and the substance of this Boston and New York, 1916, Vol II, 
paragraph are taken from “The Life of pages 116-165. : 


John Marshall,” by A. J. Beveridge, 
54 


GILBERT STUART 


Stuart was as widely and meritedly popular in Philadelphia as he was 
in England and Ireland. His painting room on Chestnut Street was so 
thronged with visitors and patrons that he could not find time to finish 
his commissions; he therefore moved to Germantown and hired the 
residence now known as the Wister Mansion, 5140 Main Street, from 
Samuel Bringhurst” and transformed an old barn on the place into his 
painting room.” This move was probably made in the summer of 1796, 
and it was here that he painted the Atheneum head. The date is uncer- 
tain, but if the tradition is true that during the intervals between sittings 
the President was accustomed to eat apples picked from a tree growing 
in the grounds, this would indicate the late summer or fall, and from the 
record we have of Washington’s movements taken from his papers and 
the press, the statement can be made that the portrait was painted be- 
tween August 17 and September 19, 1796, or after October 31, 1796, 
as Washington was at Mount Vernon before August 17 and from Sep- 
tember 23 to October 27 of that year, and the remaining days were occu- 
pied in the journey to and from Philadelphia. 

Here again Stuart’s painting room was filled by the aristocracy of the 
Republic and with common prudence there seems to be no doubt but 
that he could have established his future, but Stuart was temperamentally 
unfitted to be cautious and provident, expending his money and his 
genius alike with prodigal hand. 

Following the establishment of the National Government in Wash- 
ington, Stuart moved from Germantown to that city, in 1803, what 
time of the year is uncertain,” and occupied a studio on F and Seventh 
Streets. 


66. Fielding, “Gilbert Stuart’s Portraits of in February, 1854. (See Germantown 
Washington,” page 99. Telegraph, March 8, 1854.) 

67. The house occupied by Stuart as a home 68. In Mason’s Life of Stuart there is pub- 
is still standing but the barn was burned lished a letter from Professor William 


55 


GILBERT STUART 


The reason given for this move was so that he might paint the por- 
traits of the President (Jefferson) and Madison, then Secretary of State. 
Stuart painted several portraits of Jefferson, the first being in the spring 
of 1800anda second in 1805, and the latter’s financial diary contains the 
entry on June 18, 1805, “Paid Gilbert Stuart for drawing my portrait, 
one hundred dollars.” Probably Stuart followed the Government to 
Washington in the expectation that there he would receive a wider 
patronage from the numbers who would, for one reason or another, be 
attracted to the seat of the National Government. | 

We know little as to his activities there. He painted both Madison 
and his wife, and for this latter purpose resided in Georgetown for a 
short period. He painted also William B. Giles, Jefferson’s leader in the 
House, and others connected with the Government, but the change 
from the aristocratic tendencies of the first two administrations to the 
feigned simplicity of the Democratic-Republicans was not likely to 
appeal much to Stuart’s nature or experience. 

Jonathan Mason claims that his father, a Senator from Massachusetts, 
persuaded Stuart to settle in Boston, but it is likely that he needed little 
persuasion. His stay in Washington would appear to have been unsatis- 
factory and was probably only considered as temporary as he did not 
take his family thither, and we learn that at the time they were living in 
Bordentown, New Jersey, from letters of his son, Charles Gilbert, and 
his daughter, written to Edward Stow of Philadelphia.” 


Smith dated February 28, 1803, beg- of 1803. (See “Note on Portrait of Doc- 
ging Stuart to paint his son’s portrait tor William Smith,” by C. H. Hart, 
and Mason states that as Stuart was Century Magazine, October, 1908, page 
making arrangements to go to Wash- 958.) 


ington, he doubts if he filled the order 

(page 258), but according to Joseph 69. Letters dated January 3 and February 
Anthony’s letter to Trumbull, Stuart 25, 1804, in the possession of the late 
had not left Germantown in the spring Lawrence Park. 


56 





GILBERT STUART IN 1826, AT. 70 
From the portrait by ‘Fohn Neagle, owned by the Boston Atheneum 


57 


GILBERT STUART 


We have reason to believe that he joined his family in Bordentown, 
as upon the portrait of Anne Penington we find his signature beneath 
the window bench, “G., Stuart, Bordentown, 1805,” and also the por- 
traits of Mr. and Mrs. Stow are said to have been painted there in 
1802-03.” 

No doubt Stuart quite naturally inclined to Boston as there was the 
stronghold of the Federalist party with whose members and ideals Stuart 
was congenial, and so sometime, probably late in 1805, he made the 
move, and there resided until his death. The date of this move is also 
uncertain, but probably Stuart had the matter in contemplation for some 
time. ‘Trumbull refers to it in his “Autobiography.” Having finished 
his duties as a commissioner under Jay’s Treaty, Trumbull sailed from 
London and reached New York June 27, 1804, with the intention of 
pursuing his profession in Boston. Journeying thither shortly after the 
Hamilton-Burr duel, Trumbull found that when he mentioned his 
intention, it was coldly received because Stuart had been invited to settle 
there: 


“He had been promised the patronage of Mr. Mason and his friends (who were 
the rich and fashionable of the City), and Mr. Stewart having accordingly ac- 
cepted the invitation, was preparing to quit Washington to establish himself in 


Boston.””* 

70. See plate No. 380. In a letter to Stow dated Washing- 

71. In the text of the Fowles sale catalogue ton, May 15, 1804, Stuart acknowledges 
(New York, January 17,1922) inanote - a letter from him, encloses money to 
on the Portrait of Edward Stow, No. 27, take up one or two notes and explains 
the statement is made that Stuart and that Mrs. Stuart had never received 
his wife lived with Mr. and Mrs. Stow three letters from him containing money 
in Philadelphia, and their portraits were as the “idle rascal”? to whom the letters 
a gift from Stuart. It seems likely that had been entrusted had concealed them 
only Mrs. Stuart lived with the Stows, rather than walk two miles to the Post 
as the artist is supposed to have gone di- Office. (From copy of letter furnished 
rect from Germantown to Washington. by Mantle Fielding.) 
Stow returned to Boston to live in 1804 72. “Autobiography, Reminiscences and 
and may have influenced Stuart’s move. Letters of John Trumbull from 1756 


58 


GILBERT STUART 


so Trumbull wisely decided to return to New York and not attempt to 
compete with Stuart. 

Here again Stuart met and floated upon the flood tide of success. The 
writer, preferring to permit contemporaries to speak wherever possible 
rather than draw his own deductions, quotes the words of Charles Fraser, 
a miniature painter of the first rank. During his tour of the North in 
1806, ina letter to his sister, Fraser writes that in Boston he saw Stuart, 
who 
“was painting very industriously and had all the beauty and talents of Boston 
under his pencil.””* 

Another contemporary writes that 

“for several years after his (Stuart’s ) coming to Boston, he was overwhelmed with 
business; many had to wait months for an opportunity to sit to him.”’” 

Stuart occupied a studio at Chapotin’s Hotel, on Summer Street, for a 
short period, and for a much longer time a painting room at his residence 
on Fort Hill. The Boston directories list Stuart as living on Washington 
Street in 1807 and 1809; on Common Street in 1810; on Devonshire 
Street in 1813; on Washington Street in 1816; on Washington Place 
from 1818 to 1822; and from 1826 to the time of his death at 59 Essex 
Street.” From correspondence we learn that he was living in Spring 
Lane in 1812 “‘near the Old South Meeting House,” and during the 
War of 1812 he lived in the Bartlett House in Roxbury, where Dunlap 
visited him in 1815. 


to 1841.” New York, 1841, page 245. Huger Smith, New York, 1924, page 
Among Stuart’s papers was found a 18. 

formal communication from Anthony 
Merry,.the British Minister, enclosing 
notes in payment for Mrs. Merry’s por- 
trait dated “Washington, July 3rd, 75. No directories were printed in Boston 


74. “Lectures on American Literature,” 
Samuel L. Knapp, 1829, page 195. 


1805,” which suggests that Stuart was for the years 1808, II, 12, 14, 17 and 
still in that city. 1824. (Search made by Walter Raw- 
73. “Charles Fraser,” by A. R. & D. E. lings, Esq., Boston Public Library.) 


59 


GILBERT STUART 


Although we catch a note now and then tending to show that Stuart’s 
popularity had occasional fluctuations, such as the remark of Miss Byles 
to her nephew, Mather Brown, that “we hear little of him (Stuart) 
now.”” and the strange vogue for the self-taught Chester Harding 
which caused Stuart to ask “(How runs the Harding fever?” still for the 
twenty-three remaining years of his life he painted the leading people of 
his time and easily maintained his position as the first painter of America. 

In analyzing the innumerable anecdotes which have gathered round 
Stuart’s name, to determine what elements of character they may denote, 
one is apt to become confused by reason of their very number, and yet 
one is impressed with their likeness one to another, so that it is possible 
to group them under heads. 

In one class can be placed the story of his refusal to finish the portrait 
of Madame Bonaparte by reason of the remarks of her husband, Prince 
Jerome, which Stuart considered impertinent. This and many similar 
incidents show his impatience of criticism coupled with a proper regard 
for his own talents and his standing among men. 

In another class may be placed the stories exampling his unusual con- 
versational gift, and these all prove the universal comment that Stuart 
was a man of fine intellect, with a retentive memory and a wide experi- 
ence of life upon which to draw. Many are the anecdotes told of his 
constant snuff-taking, and one quotation will suffice to instance the last 
two classes, John Quincy Adams, no ordinary observer, made the fol- 
lowing entry in his diary for September 19, 1818: 

“I sat to Stuart before and after breakfast and found his conversation, as it had 
been at every sitting, very entertaining. His own figure is highly picturesque, with 


his dress always disordered, and taking snuff from a large, round tin wafer box, 
holding, perhaps, half a pound, which he must use up in a day.””” 


76. “Letters of A. and C. Byles,” Volume 1808-1818. 
77. Mason, page 126. 


60 


GILBERT STUART 


Another class of anecdotes example his remarkable faculty for char- 
acter reading, but this was only part of his general equipment for his 
profession, for no man without this talent could have raised himself to 
Stuart’s preéminence as a painter of portraits. 

The number of unfinished portraits by him when compared with that 
of other painters is very great; some may be explained by his refusal to 
continue by reason of some criticism; others are unexplained, such as 
those of Mrs. Robert Morris or Stephen Van Rensselaer. Jane Stuart 
speaks of “heaps of discarded canvasses” in the garret of the painter’s 
home. Stuart was so sure and rapid in his execution that he probably 
discarded a canvas upon the slightest provocation and began anew, 
rather than remedy some slight defect in likeness. 

In the last group may be placed all the legends as to the painter’s 
absolute disregard of detail and his improvidence in money matters. 
Mason says that 


“He did not know, at times, whether a picture he had finished had been paid 
for; so indifferent was he to all business matters.””* 


He illustrates this by a single sheet torn from an old account book—all 
that could be found—-saying that there is nothing to show what the 
figures in the right-hand column mean. The entry for one day is sufh- 
cient to indicate Stuart’s bookkeeping. 


“T, 26. Mr. Hollowell—Mr. I. P. Davis K— 
Thunder, rain and my room leaking 
like the devil. 9 
Mr. Appleton altered to Thursday 11 
Mr. Townsend read over the correspondence 
between me and Bingham.”” 


Without desiring to be too impatient with trivialities, it cannot but 
occur to the writer that had Stuart’s character been such as to cause him 
78. Mason, page 45. 79. Mason, page 46. 

61 


GILBERT STUART 


to save his pennies—for the failure to do which his many biographers 
call him to such solemn account—he might have paid his bills, but he 
might not have left to us, as an heritage, so many masterpieces from his 
brush. 

Stuart seems always to have attracted to himself the leaders of thought 
and action in the community in which he lived. The first five Presidents 
of the United States sat to him and not only did he paint the great of the 
earth, but he made them friends as well. His daughter speaks of constant 
visits of Daniel Webster to her father as a friend rather than as a patron, 
and in a letter to Stuart dated Monticello, January 19, 1825, Jefterson 
writes: 


“You know that here you are a welcome guest always, and expected always to 
make it your headquarters.” 


When the Academy of Design was founded in 1825, it required resi- 
dence in New York as a qualification for membership and occasionally 
before 1862, when this prerequisite was abrogated, it elected distin- 
guished artists of other cities as honorary members. At the very first 
election Stuart and Sir Thomas Lawrence were chosen. Shortly before 
his death he was asked by the Academy of Florence to paint a self- 
portrait for the great collection in the Pitti Palace, the highest compli- 
ment a painter can receive, and that he failed to do this will ever be a loss 
to the world of art. 

There are many portraits of Stuart, but his own early self-portrait" 
and the Browere bust,” which Jane Stuart called a “living and beautiful 
thing,” would seem the most satisfactory. A portrait owned by the Na- 
tional Gallery, London, while seemingly of Stuart and claimed to be by 
him, exhibits little of his color or technique. 


80. From a photostat copy furnished by Mr. 81. See plate No. 493. 
Harry Bland of the Fridenberg Galler- 
ies, New York. 82. See page 67. 


62 


GILBERT STUART 


Stuart laughed at the portrait by C. W. and Rembrandt Peale,” saying 
that it made him appear “an awkward clown.” A miniature by Anson 
Dickinson“ appears to be a good likeness but the family preferred the 
miniature by Sarah Goodridge” to all others, and we must defer to their 
judgment, however hard it may seem. 

In considering the portrait by Neagle” in the Boston Atheneum, 
which passes current as the great likeness of the painter, one should not 
overlook the family criticism. Of it Jane Stuart wrote: This portrait 
“was considered a positive caricature by his family and his intimate friends; his 
niece did not recognize it, his face far from handsome at that period was full of 
energy and power. 

“This portrait, so stupid to the last degree, I should think would put to flight the 
theory of physiognomy, that the features are an indication of the character. 

“Tt is curious that he should have transmitted to posterity the portraits of the 
distinguished men of his day, giving each great man his peculiar attribute, and 
that his own portrait should pass down to posterity utterly devoid of intellectual 
expression—in fact the representation of a driveler.”” 

There was a picture of Gilbert Stuart’s painting room by Washington 
Allston, sold at the Thomas B. Clarke sale, New York, 1919, which 
exhibited Stuart in profile with his wife, his daughter Anne, Gilbert 
Stuart Newton, Stebbins, and Allston surrounding him and a portrait 
of Stuart’s deceased son Charles hanging on the wall. A profile medal- 
lion based on the Browere bust was issued in 1848 by the American Art 
Union, and the reproduction of James Duthie’s etching after an ink 
sketch said to be by Stuart himself is the frontispiece of Mason’s life of 
the artist. West painted a large picture of the “Order of the Garter” in 
which he introduced the head of Stuart among the spectators and Stuart 
painted the head of West in the same group. 


83. See page 21. 86. See page 57. 
84. See page 45. 87. Scribner’s Monthly, October 7, 1877, 
85. See page 39. page 379. 


63 


GILBERT STUART 


Stuart’s name was added to the list of American Immortals in the Hall 
of Fame, New York University, in 1900. 

Anne Stuart commends Samuel L. Knapp’s estimate of her father and 
in his totally forgotten volume appears a sentence or two which will bear 
quotation from a man who was not only a contemporary of Stuart but 
whose training and reputation in his day entitle his opinion to weight. 
He writes: 


“He [Stuart] has not wasted his strength on dress and drapery, which is often 
admired by those it was intended to please and flatter, and in the course of a gen- 
eration or two, is the subject of amusement to the descendants of the stately dame 
they adorn or encumber. They laugh at the niceties of ruff or stomacher, which 
cost weeks of labor to artists. Stuart wisely brought all his talents, and all the powers 
of his art to bear upon the human countenance. . . . | 

“In his person, Stuart was rather large and his movements, in the latter part of 
his life were slow and heavy, but not ungraceful. His manners had something of 
the formality of the old school; but it was evident, at the first blush, that he had 
been conversant with good society. He loved to display his powers as a conver- 
sationalist, and to come in friendly collision with intelligence and wit, in order 
to sparkle and shine. He was sometimes a little fastidious and eccentric; but 
he never lost the manners of a gentleman on any occasion. . . . The lives and 
works of the great artists of all ages were familiar to him as his palette. He dis- 
coursed upon their excellencies, defects, and peculiarities, as one who had read and 
examined them all most thoroughly. His eloquence was peculiar and attractive; 
his voice strong and deep, his enunciation clear and distinct; and his countenance 
came in aid of his voice, for his features were bold and lion-like, and no stranger 
ever passed him without mentally saying, “That is no ordinary man.’?”” 


Jane Stuart, in one of her articles,” says that her father was quick- 
tempered and irritable by nature and that this was increased by the con- 
stant interruption which the stream of visitors brought to his work. A 
painter’s studio was, by the custom of the day, a meeting place for fash- 
ionable people and no doubt the custom would have tried the patience 


88. “Lectures on American Literature,” 89. “Anecdotes of Gilbert Stuart.” Scrib- 
1829, pages 196 and 199. ner’s Monthly, July, 1877. 


64 


GILBERT STUART 


of one more even-tempered than Stuart. She speaks also of his love of 
teasing, his keen sense of the ridiculous, his excessive irony and his 
benevolence: “anything,” she remarks, “like adverse fortune, or neg- 
lected merit, was sure to find place in his regard.” This latter trait was 
possibly developed by his association with West as many men, espe- 
cially artists, have borne witness to the help which he generously gave 
to them. : 

Washington Allston, in his notice of Stuart, published in the Boston 
Daily Advertiser a few days after his death, speaks of his uniform kind- 
ness and of him as one 
“who would have found distinction easy in any other profession or walk of life. 
His mind was of a strong and original cast, his perceptions as clear as they were 
just, and in the power of illustration he has rarely been equaled. On almost every 
subject, more especially on such as were connected with his art, his conversation 
was marked by wisdom and knowledge; while the uncommon precision and ele- 


gance of his language seemed ever to receive an additional grace from his manner, 
which was that of a well-bred gentleman.” 


He concludes: 


“We cannot close this brief notice without a passing record of his generous 
bearing towards his professional brethren. He never suffered the manliness of his 
nature to darken with the least shadow of jealousy, but where praise was due, he 
gave it freely, and gave too with a grace which showed that, loving excellence for 
its own sake, he had a pleasure in praising. To the younger artists he was uniformly 
kind and indulgent, and most liberal of his advice; which no one ever properly 
asked but he received, and in a manner no less courteous than impressive.” 


Stuart passed the remainder of his life in Boston working industriously 
as the mood took him; ever surrounded by friends and admirers and 
always able to fill his time with profitable commissions. 

In his last years Jane assisted her father, at least so far as to grind his 
colors and perhaps prepare his backgrounds. She writes that he was 


65 


GILBERT STUART 


planning to send her to London for instruction under his old friend Sir 
William Beechey when his last illness came upon him. 

Mason’s account of Stuart’s last days obtained, no doubt, from the 
family, is as follows: 

“Stuart’s health began to fail in 1825 and 1826. This was followed by symp- 
toms of paralysis in his left arm, which depressed him greatly; and although his 
mind was clear and active to the last, he never recovered from the shock to his 
feelings when he found that his arm was becoming useless. ‘If I could live and 
have my health,’ he used to say, ‘I could paint better pictures than I have ever 
done.’ Even at this time he had occasionally something amusing to say to a friend, 
but his natural flow of spirits was gone. Still he tried to paint, and with great effort 
succeeded in finishing a number of heads. The last picture he began and finished 
was a portrait of Mrs. Samuel Hayward, of Boston. In the spring of 1828, the 
gout, from which he had suffered severely at times, settled in his chest and stom- 
ach, and for three months he bore the torture with the greatest fortitude. At length 
nature gave way, and on the 27th day of July of that year he died, having reached 
the age of two and seventy years.””” 

He was survived by his wife and four of his daughters, Anne, Agnes, 
Emma and Jane Stuart, and he left nothing but a few half-finished 
pictures. 

A memorial exhibition of his work, containing over 200 of his por- 
traits, was organized in Boston shortly after his death for the benefit of 
his family, and with the proceeds they moved to Newport, where they 
lived for a number of years at No. 62 Washington Street, supported by 
the meagre talents but indomitable will of Jane Stuart. 

So lived and died Gilbert Stuart and the same disregard of detail which 
marked his life followed him in death. He was interred in the Central 


go. Mason, page 29. Adams, of which he had completed the 
The Stuart family were still in Bos- head only. Sully’s journal states that Stu- 

ton in 1829, when Sully visited them on art’s last words were to I. P. Davis rec- 
August 13th according to his journal. ommending his wife to him. (Refer- 
Sully had been commissioned to finish ence furnished by Mrs. M. H. Sully.) 


Stuart’s full-length of John Quincy 
66 





GILBERT STUART IN 1825, ZT. 70 
From the bust by F.H.I. Browere, owned by the Redwood Library, Newport, R. I. 


67 


GILBERT STUART 


Burying Ground on Boston Common anda gentleman who was present 
is said to have noted the number of the vault, but he afterwards mislaid 
it, and the family had kept no record. On a tablet attached to the 
railing of the cemetery appears the following: 


GILBERT STUART 
ARTIST 
1755-1828 
PAINTER OF THE PORTRAITS OF 
WASHINGTON, LOUIS XVI AND GEORGE III 
THIS TABLET PLACED BY THE PAINT AND CLAY CLUBS 367 


No stone marks his grave and no man knows the precise spot where 


rest his ashes. 
x 2K x k x xk k ry “k 


To measure the rise of Gilbert Stuart, the artist, one must not forget 
that most of the first twenty years of his life were passed amid conditions 
stifling to genius. He had practically no masters to instruct or to copy; 
no cultured environment to act as a stimulus to his genius and a small, if 
any, circle to appreciate his unusual gifts. When, however, his chance 
came he seized it and climbed swiftly to success. 

It must have taken a stout heart and the urge of genius to induce a 
youth of nineteen, alone, inexperienced, without resources or friends, 
to journey to far-off London, intent upon seeking his fortune in a 
calling where influence and favor are half the battle. After a bitter 
struggle with poverty lasting two years, he entered upon his first serious 
training in his art under Benjamin West. So rapid was his progress that 
within five years he felt strong enough to start for himself. Within 
another four his fame was established and he had become one of the 
leading portrait painters of London. 


68 


GILBERT STUART 


This meant eminence and distinction in competition withthe London 
of Reynolds, Gainsborough, Romney, West, Hoppner, Copley, 
Beechey, Opie, Ramsay, Gardner, Mather Brown and a host of lesser 
lights, and ata time when portrait painting had attained the highest point 
ever reached in British art. This was an achievement which would have 
_been sufficient to reward the work of a lifetime and yet it was accom- 
plished by Stuart before he was thirty-two. 

To judge understandingly Stuart’s character, one must take into 
account the source from which he sprang, his early lack of friends and 
fortune and the obstacles he overcame. Stuart had had little opportunity 
to acquire a formal education, yet so retentive was his memory and so 
sympathetic was his nature to the influences of culture, that at the end 
of his apprenticeship with West, a Colonial youth had been turned into 
a man who could and did live on terms of intimacy with many promi- 
nent in the great and fashionable world. 

Upon returning to his native land, he easily maintained preéminence 
in his profession during the remaining thirty-five years of his life, and 
attracted to his friendship, in each city where he lived, those distin- 
guished by intellect, achievement and birth. He left a reputation with- 
out rival and the passing of the century since his death still finds his name 
first in the list of American portrait painters. 

Stuart is quoted as having said early in lite: 


“For my own part, I will not follow any master. I wish to find out what nature 
is for myself, and see her with my own eyes.” 


This is the key to an appreciation of his work. 

Though Stuart was taught in the classic school, his genius caused him 
gradually to discard most of those accessories which tend to distract the 
eye or confuse the judgment and concentrate on the head alone. The 


69 


GILBERT STUART 


one object he kept in mind was to paint his sitter so as to preserve the 
character and likeness of the individual, and no artist ever sought less to 
gain importance from his background. 

This is the characteristic in which Stuart’s portraits stand supreme. 
They are paintings of a head, well-nigh perfect in technique and super- 
lative both in likeness and in character. 


70 


CHRONOLOGY 


The following dates are determined with reasonable accuracy. ‘The 


ainter’s age has been put in parentheses. 
p $ p P 


1755, December 3 


1756, April 11 


1761,Sometimeafter (5) 


February 
£707 (11) 
1768 (2) 
1768-70? (12-14) 
1770-72! (14-16) 
1772? Fallof 
V772.! } 
1772-73! (16-17) 
1774 2-75 (18-19) 
1775, June 16 (1972) 
1775, November 
1776, Summer (20) 
1776, Fall 
1776, Late in, or 
1777, Early in (21) 
1777, Early in 


Gilbert Stuart born in the Township of North 
Kingstown, Rhode Island. 

Palm Sunday. Baptized by Rev. James Mac- 
Sparran, D.D., in St. Paul’s Church, Narragan- 
sett. 

The Stuart family moved to Newport, Rhode 
Island. ‘The home was on or near “Bannister’s 
Wharf.” 

Began to copy pictures and “at length attempted 
likenesses in black lead.” 

Dated portrait of an unknown man in crayon 
or black lead, owned by Essex Institute, Salem, 
Massachusetts. 

At Kay School, Newport. 

Under instruction of Cosmo Alexander, 
Newport. 

Tour of the South with Cosmo Alexander. 
Accompanied Alexander to Scotland. 

In Scotland. 

In Newport. 

Sailed from Boston for London, probably stop- 
ping at Norfolk, Virginia. 

Arrived in London and took lodgings in York 
Buildings, Buckingham Street, Strand. 
Waterhouse returned to London and found 
Stuart at above address. 

Stuart moved to lodgings on Gracechurch Street, 
London, “‘between the houses of my two cousins, 
Mrs. Freeman and Mrs. Chorley” (Water- 
house). 

Stuart wrote Benjamin West from 30 Grace- 
church Street. 

Stuart moved to 27 Villers Street, Strand, Lon- 
don. Makes first exhibit in the Royal Academy. 


71 


GILBERT STUART 


1777? Summer of, to 


1782, June 
1779 
1781 
1782 
1782, June 


1782-87 
1786, May 10 


(21-26) 


(27) 


(31) 


1787, Late in October 


1787, October, to about 


1792, December 
1793, January 


1793, January, to 
1794, November 
1794, November 


1795 


1796, April 12 


1796, Summer of 


1796, Fall 


1796, Spring of, to 
1803 

1803 to 

1805? 

1805 

1805-1828 

1828, July 27 


(38) 


| 


(39) 


(40) 


| 


(46) 


(49-72) 


Student under West. 


Exhibited in the Royal Academy. 

Exhibited in the Royal Academy. 

Exhibited in the Royal Academy. 

Leased a house in Berners Street, London, and 
starts for himself. 

Painting in London. 

Married to Charlotte Coates in Reading, Berk- 
shire. 

Moved to Dublin, Ireland, residing for a short 
time in Pill Lane, Dublin, and for the balance 
of his stay in Stillorgan Park, a suburb. 


Painting in Dublin. 


Arrived in New York and leased a studio on 
Stone Street, near William Street. 


Painting in New York. 


Moved to Philadelphia and occupied a studio on 
southwest corner of Fifth and Chestnut Streets. 
Painted his first life portrait of Washington, of 
which he made several copies; known asof “The 
Vaughan Type.” 

Began painting his second life portrait of Wash- 
ington, known as “The Lansdowne Type.” 
Moved to Germantown and transformed a barn 
into a studio on the Bringhurst property, now 
known as No. 5140 Main Street. 

Painted his last portrait of Washington from 
life, knownas “The Atheneum Head,” of which 
he made many copies. 


Painting in Germantown. 


Painting in Washington in a studio on F and 
Seventh Streets. 

Bordentown, New Jersey. 

Painting in Boston. 

Stuart died in his seventy-third year. 


72 


GILBERT STUART, THE ARTIST 


By ROYAL CORTISSOZ 


HE fame of Gilbert Stuart is inalienably associated with that of our 

formative period asa nation and with that of its greatest leader. To 
the craving for one of the painter’s works which animates every collec- 
tor of Americana there is added the special hope that the long-sought 
prize may be one of his portraits of Washington. In turning the pages of 
these volumes it is impossible to overlook the fact that Lawrence Park’s 
beautiful labor of love was dedicated to a man who was in some sort a 
social chronicler, the pictorial historian of characteristic figures in our 
national life at its most crucial moment. Such a Stuart gallery as is em- 
bodied in this book is ina very poignant sense a gallery of representative 
men and women. Yet its very richness, considered in this aspect, may 
easily distract attention from the master’s chief title to fame—which is 
his mastership. It has not always been overlooked, of couse. But neither 
has it been widely enough recognized. For my own part, while I am 
interested in Gilbert Stuart as the man who painted Washington, I am 
more interested in him as a man who was a good painter. 

It is often said of our earlier school that it was “derivative,” and the 
word is used ina more or less disparaging sense, as though, to be sure, the 
founders, not being quite their own men, are hardly to be reckoned with 
onaltogether favorable terms. This is misleading. No doubt the pioneers 
in American art were influenced by the traditions of the British school, 
but when they happened to know how to paint they triumphed in their 
own right. It has amused me to reflect before Copley’s superb “Mrs. 
Fort” that the painter of that portrait, and of divers others, was to be 
classified as “‘derivative.”” From whom did he derive the manual ability 


(i 


GILBERT STUART 


disclosed in every inch of the canvas at Hartford? Surely, not from the 
school with which he had such profitable contact. It gave hima formula 
but he filled it out with an entirely personal energy. It is so with every 
painter who is a capable man of his hands. The British themselves prove 
this. Sir Joshua had academic law bred in his bone. When West was 
painting his “Death of Wolfe” the great man actually wanted him to put 
the figures of the composition into classical garb! But I have seen a por- 
trait by Reynolds, dating from late in his career, which for modernism 
in handling might have been painted by Manet. The case of Gains- 
borough is famous. He, too, was academic in many of the relations of 
his art. He subscribed to all the tenets of formality which had come 
down to the school from Van Dyck. To all of them save that one which 
concerned the facture of a painting. There he developed with utter self- 
confidence that exquisite “feathery” touch which is today perhaps his 
chief title to remembrance. The painter always comes before the 
school, the personal gift before the training that nominally governs it. 
The British masters gave our men a habit of mind but they didn’t create 
the genius of American painting. That sprang from our soil, and in 
Gilbert Stuart we have one of its most instinctive exemplars. 

The original merit in him is the more interestingly appreciated when 
it is considered with reference to just those environing conditions whose 
prestige has threatened to obscure it. It is the paradox of early American 
art that the men who made it in an era of political revolution were 
promptly reconciled to the academic world into which, as artists, they 
were born. They were allied, if only by the instinct of self-preservation, 
with an eighteenth century routine making for everything which our 
new afhrmation of liberty was supposed to flout. In politics we were 
committed to the belief that all men were created equal. In art we 
accepted the idea that however we were created we were justly to be 


74 


GILBERT STUART 


submitted to an external pressure reducing all the members of a school 
to a common denominator. We were to obey established regulation, 
respect precedent, follow our pastors and masters. Such was the habit 
of the English and the French; and the English, from whom in partic- 
ular we drew our initial body of artistic ideas, were in art more than 
anywhere else disposed to adjust themselves to a definite code of received 
opinion. This opinion, traceable back to Van Dyck and to Holbein, 
made much of a certain courtly ceremony in design, which became, by 
the time the Royal Academy was established, an ingrained point of view 
in the studios. The noblest embodiment of it, Sir Joshua Reynolds, with 
a passion for painting and a fairly powerful intellect, developed in Eng- 
land a lordly equivalent for the French ordonnance which might have 
been expected to quench the natural fires in him. But I have already 
indicated how his innate faculty as a pure painter pulled him through. 
So it was with Gilbert Stuart. 

I know no more piquant illustration of his essential detachment from 
the core of the British hypothesis in portrait painting than the canvas 
which at first blush might seem to denote his solidarity with it. The 
canvas to which I refer is the renowned “Lansdowne” Washington, that 
full-length in which he organizes his composition in approved eight- 
eenth century fashion. The oratorical but carefully balanced pose is 
just what a British painter would have chosen. There is the genius of the 
eighteenth century, the very spirit of the British school, adapting the 
personality of the sitter to a preconceived mode of composition, one 
based on principles of law and order, of a polished social attitude. But, 
as it happens, the portrait does not represent Stuart’s way of thinking at 
all! He could no more have brought that composition out of his inner 
consciousness than he could have pulled himself up by his boot straps. 
He simply cribbed it bodily from the “Bossuet” of Rigaud. His treat- 


7 


GILBERT STUART 


ment of both figure, background and accessories is founded almost 
slavishly upon the French precedent. The plagiarism is a commonplace 
in art criticism. But I do not think its implications have been sufficiently 
studied or correctly appraised. If they mean complete dependence, in 
the particular episode, upon a foreign tradition, they mean also that 
Stuart was governed by the needs of the occasion and not by a natural 
predilection. He had to go to Rigaud because he hadn’t the formal tra- 
dition in his blood and you put the right interpretation upon the situ- 
ation not when you say that “he couldn’t acquire it” but that “he didn’t 
succumb to it.” Go through the mass of work illustrated in these 
volumes. It enforces, I think, my point, that Stuart was in the eighteenth 
century British and French tradition but not of it in any subservient 
sense. He took what he wanted from abroad and then went his own gait. 

I do not argue that he was necessarily the better off for the detach- 
ment to which I refer but merely that in sensing his rejection of the 
British court formula of design you draw a little nearer to what I would 
call his organic originality as a painter. I am not sure that he was even 
conscious of the renunciation. All I am sure of is that he was a born 
painter and therefore never really assimilated what was most character- 
istic of the school from which he is so often said to “derive”—its organ- 
izing mechanism. ‘The industrious Dunlap had from John Neagle, who 
had it from Stuart himself, an anecdote which is apposite: 


When studying at Somerset House, in the school of the antique, it was proposed 
by his fellow students that each one present should disclose his intentions as to what 
walk in art, and what master, he would follow. The proposal was agreed to. One 
said he preferred the gigantic Michelangelo. Another would follow in the steps of 
the gentle but divine Raphael, the prince of painters; and catch, if possible, his art 
of composition, his expression and profound knowledge of human passion. A third 
wished to emulate the glow and sunshine of ‘Titian’s coloring. Another had deter- 
mined to keep Rembrandt in his eye and, like him, eclipse all other painters in the 


76 


GILBERT STUART 


chiaroscuro. Each was enthusiastic in the praise of his favorite school or master. 
Stuart’s opinion being demanded, he said that he had gone so far in merely copying 
what he saw before him, and perhaps he had not a proper and sufficiently elevated 
notion of the art. But after all he had heard them say, he could not but adhere to his 
old opinion on the subject. “For my own part,” said he, “I will not follow any 
master. I wish to find out what nature is for myself, and see her with my own eyes. 
This appears to me the true road to excellence. Nature may be seen through dif- 
ferent mediums. Rembrandt saw with a different eye from Raphael, yet they are 
both excellent, but for dissimilar qualities. They had nothing in common, but both 
followed nature. Neither followed in the steps of a master. I will do, in that, as 
they did, and only study nature.” 


Gainsborough, who overheard this, gave him an approving pat on the 
back and urged him to adhere to his principle. He always did. Hence the 
vitality in his work. A head painted by him isa head seen. To allude once 
more to that matter of organization in design, I may touch upon the 
judgment he used in the placing of a sitter within the rectangle, the ease 
and naturalness with which the head, shoulders and arms in his typical 
design are arranged. The comparative diversity of the pattern, a point 
which the plates in Mr. Park’s pages are especially well calculated to 
bring out, is something by which the studious reader will be a little 
surprised. He followed convention, it is true, but not drily, method- 
ically, or with any of that scholastic reliance upon formula to which, as 
we have seen, he was driven in the case of the full-length of Washington. 
I would not overestimate his aptitude. It is given to only a few giants to 
achieve such felicity as you find in, say, Titian’s “Man with the Glove.” 
But, conventional as he was perhaps bound to be, there is still no mis- 
taking the freedom and animation which he generally obtains. His 
convention, if we must call it such, is singularly supple and graceful. 
The pose is unforced. ‘The head is carried in what we feel must have been 
the wonted poise of the sitter. I have in mind one of the most eighteenth 
century portraits that Stuart ever painted, the oval of William Constable. 


7d 


GILBERT STUART 


It has a French elegance, and, looking at it in another mood, from 
another angle, one might say that Gainsborough might have painted it, 
at his best. But the light, alluring spontaneity of the thing is pure Stuart. 
Memory brings back another example in which his gift seems to be as it 
were conclusively isolated. 

I shall never forget the moment in which I first saw Stuart’s portrait of 
Mrs. Richard Yates, a New York lady whom he painted in 1793, when 
he was not yet forty. In lace cap and silken dress she sat sewing, a 
thread stretching from the left hand to the right, the artist choosing a 
definitemoment ofaction to commemorate. Between costume and back- 
ground he established a harmony in grays, Whistlerian, almost, it might 
be called, if it were not for the frank naturalism of the portrait. Here was 
the very perfection of spontaneity in design and I lingered before the 
canvas with deep delight in its truth, its lifelike force. But what had 
arrested me in the first place and what still remains vivid in my mind was 
the magnificent painting in the thing, the beauty of the canvas as so 
much silvery surface. I thought of Chardin. I thought of Vermeer and 
other magical manipulators of pigment. Above all, I thought of 
Velasquez. But I didn’t think of the Spaniard as one whom Stuart had 
emulated; far from it. My thought was rather of how Stuart, in this 
glorious piece of technique, entered into the company of the great 
brushmen, how both in dexterity and in taste, how in the very essence of 
painting, he here demonstrated that he was indeed one of the masters. 
I have not often, I confess, encountered a Stuart as resplendent as the 
portrait of Mrs. Yates. But there are many that partake in one measure or 
another of its technical brilliance. 

The literary evidence conflicts as to his formation in habits of good 
draughtsmanship. Trumbull has been cited as saying that Stuart “never 
could exercise the patience necessary to correct drawing.” His friend 


78 


GILBERT STUART 


Waterhouse, on the other hand, retorted upon this saying with the 
remark that Stuart “was patient and even laborious in his drawings,” 
and there is this other quotation from the doctor, in Dunlap: “Mr. Stuart 
was fully aware of the great importance of the art of drawing with ana- 
tomical exactness, and took vast pains to attain it.” But there is no con- 
flict at all in the evidence of the paintings. That shows clearly enough 
that he knew how to draw, and with the brush, which is an attainment by 
itself. Nor is it the “correct drawing” of Trumbull’s phrase, which is to 
say the rather cold and stilted draughtsmanship of the academy. Stuart 
drew, I repeat, with the brush, and his contours have the virtues of the 
true painter, they are broad, flowing, as elastic as they are “exact.” 
Indeed his technique is a very beautiful thing, technique of that strong, 
almost artless character which suggests always that genius has passed 
that way. Consider first his solid, vitalized way in the construction of a 
head, then the freedom with which the hair is painted, the easy play of 
the light, and, after all this, the fluent breadth with which costume and 
suchlike details are brushed in. It is a painter that is present in these 
operations, a predestined technician, and one who places upon his exe- 
cution not only the stamp of authority but the accent of personality and 
of style. Discussion of his portraits of Washington not infrequently 
revolves around the question of the special validity of this or that type. 
It interests me, in its place, but when I am looking at the Atheneum 
head, for example, I turn from the matter of its status as a portrait to the 
technical issue that seems to me paramount; I delight in it simply for 
the maestria it reveals. | 
Apprehending the traits in his work that lie upon the surface and 
remembering the characteristics of the man, his mobile temperament, 
his blithe ebullitions, I conceive of him as a painter delighting in his 
craft, using the brush with gusto, and having in him, in short, something 


Ds 


GILBERT STUART 


of that principle which we have come to designate in our own time as 
signifying the pursuit of art for art’s sake. Yet I do not believe that there 
was much of the virtuoso about Stuart, despite the passages in his ewvre 
pointing to a vein of virtuosity. After all, as I cannot too often reiterate, 
though he escaped the chill of formalism which belongs to academic 
schools, he remained a man of his period and the specific accent upon 
his art is that of sobriety, proportion, restraint, all the elements of a cool 
and measured demeanor. This is noticeable decisively in his color. It is 
significant that the portrait of Mrs. Yates which I have mentioned, so 
beautiful in its tones, is in a quiet key. There is no great brilliance in a 
tonal scheme of Stuart’s nor is it remarkable for any original nuances. It 
is, rather, one of eighteenth century soundness and discretion. His flesh 
tints are pure and sufficiently fervid, matching in their wholesome fresh- 
ness and luminosity the adequacy of his modelling. In the étoffage of a 
portrait he is similarly judicious and admirable without being particu- 
larly striking. His reds and blues and yellows are good reds and blues 
and yellows. He is perhaps most distinguished, most subtle, in his grays. 
White he handled with more than ordinary skill. He could paint a jabot 
with an uncommonly beguiling touch. 

Touch! The word renews the whole broad question of Stuart’s rela- 
tion to the art of his time. Where does he stand in the perspective that 
embraces him and his contemporaries? He outstripped West without 
trying, passing through the force of natural genius far beyond the 
practise of the good old man at whose feet he sat in his younger years. 
With his gifts this was no great victory. All things considered, it would 
have been a pity if the pupil had not eclipsed the patron. It was another 
story when it came to the leaders of the English school. They had one 
grave advantage over him. The ideals of stately composition which they 
cultivated, and which were foreign to his disposition, helped them enor- 


80 


GILBERT STUART 


mously. ‘They were picture-makers in portraiture, often with impressive 
things resultant from their activity, and Stuart was content to be a por- 
trait painter pure and simple. They delicately sentimentalized and 
sometimes even dramatized their sitters. He presented the man in his 
habit as he lived and intervened in characterization only as a straight- 
forward searcher after truth. He knew nothing about “the grand style.” 
He never could bend Sir Joshua’s bow in that sphere. Neither, as a 
brushman and colorist, had he quite the é/am and brilliance of Gains- 
borough. Yet he shares what I can only describe as the technical recti- 
tude of both these masters. His sterling workmanship has the funda- 
mental fine character of theirs; it takes a different direction, it is more 
pedestrian, where Sir Joshua’s has grandeur and Gainsborough’s is flash- 
ing, but at bottom it has the same strength, the same honesty, the same 
original power. It is said that Reynolds did not like the portrait that 
Stuart painted of him, finding that it wanted accuracy. However that 
may have been, he could not have disparaged it as a work of art. In fact, 
when I have seen this canvas, it has stirred me to one more reflection on 
the strikingly individualized accomplishments which Stuart drew from 
his impact with the British leader and his circle. He profited by the ideas 
which these men put in the air. But if he paid them back in their own 
coin he left a stamp of Gilbert Stuart upon the metal. And that metal 
was pure gold. 

We have never had a more thoroughgoing master-craftsman. He 
lived a fairly long life and was reasonably industrious. He painted, I am 
sure, some pot boilers. But as Mr. Park’s researches have clearly demon- 
strated, and as criticism of Gilbert Stuart is more and more realizing, the 
works from his hand have an extraordinarily uniform merit. They pos- 
sess deep historical interest. Legend has it that he was wont to engage his 
sitters in conversation, always choosing the appropriate topic to awaken 


81 


GILBERT STUART 


interest, and merely as records the portraits underline his insight and his 
gift for the truly eloquent likeness. But he is not the property of the his- 
torian alone. Heis equally the property of the artist and the connoisseur. 


82 


TECHNICAL NOTE ON THE PAINTING 
OF GILBERT STUART 


HE palette that Stuart used was a small oval one given him by 
Nathaniel Dance. It belonged at one time to Thomas Hudson, 
the teacher of Reynolds. 

The arrangement of colors that Stuart used has been recorded by 
William Dunlap in his “History of the Arts of Design in the United 
States.” In 1813 it was: “first, and nearest the thumb, pure white, then 
yellow, vermilion, black and blue. Then followed yellow and white 
in gradations; vermilion and white in gradations; black and yellow- 
black and vermilion; black, vermilion, and white in several gradations; 
black and white; and blue and white. ‘And for finishing, add lake to 
your palette and asphaltum.’” 

In 1822 Dunlap notes that Stuart’s palette scheme was: “Antwerp 
blue—Krem’s white—vermilion—stone ocher—lake— Van Dyke 
brown, mixed with one-third burnt umber—ivory black. The tints he 
mixed were white and yellow—vermilion and white—white, yellow, 
and vermilion—vermilion and lake—(each deeper than the other), 
then blue and white—black and yellow—black, vermilion and lake, 
asphaltum for finishing.” 

Both the foregoing passages bear a strong resemblance to Hogarth’s 
description of his palette given in the “Analysis of Beauty.” 

The painting surface that Stuart used was both canvas and wood. ‘The 
canvas he preferred was an imported twill with a diagonal weave. His 
wood panels were generally of mahogany which he planed with a 
notched blade so that diagonal grooves show faintly and give the surface 
the appearance of the twilled canvas. 


83 


GILBERT STUART 


Technically Stuart’s earliest portraits resemble those of his teacher, 
Alexander. Then when he went to England, he and Waterhouse visited . 
picture collections “once a week for more than two years,” and these 
visits had their effect. The portrait of himself at the age of twenty-four 
shows a faint Rubens influence. The portrait of James Ward shows the 
influence of Van Dyck. 

Then an English influence followed. Stuart knew Lawrence, Beechey, 
Reynolds and Gainsborough. With the latter he collaborated in a full- 
length portrait. But he swiftly freed himself of all influence and devel- 
oped his own technique and style. 

His indebtedness to West he often acknowledged. Part of his train- 
ing was to paint studies of drapery and West undoubtedly gave him a 
good foundation. 

But Stuart soon surpassed his master; he even painted a portrait of 
King George for West which a certain nobleman commissioned West 
to paint. A story told by Dunlap, as taking place about 1786, gives, in 
Stuart’s own words, the difference in handling of the two artists. Trum- 
bull was using Dunlap’s hand as a model for a portrait he was finishing 
when Stuart came in and gave a criticism. He spoke of West’s method 
of painting in streaks. “But nature,” he continued, “does not color in 
streaks. Look at my hand: see how the colors are mottled and mingled, 
yet all is clear as silver.” Dunlap also quotes Stuart’s advice to Neagle: 
“Good flesh coloring,” he said, “partook of all colors, not mixed, so as 
to be combined in one tint, but shining through each other, like the 
blood through the natural skin.” 

G. C. Mason, in his “Life of Gilbert Stuart,” gives notes jotted down 
by Matthew Jouett while he was a pupil under Stuart in 1817 which are 
of great value to the student of Stuart’s work. Jouett gave the manu- 
script to James Bogle, the portrait painter, who had it printed on a single 


84 


GILBERT STUART 


page and entitled “Remarks on Art.” In 1861 it was reprinted in the 
Crayon. 'The following are extracts from these notes: 

“Too much light destroys, as too little hides the colors. . . . Where 
there is too much light, there will be no flesh in the shadows; where too 
little, not enough flesh in the lights. . . . 

“Never be saving of color. Load your brush, but keep your tints as 
separate as you can. No blending; it is destructive to clear and beau- 
miakeitect:. . . 

“Flesh is like no other substance under heaven. It has all the gayety 
of a silk-mercer’s shop without its gaudiness of gloss, and all the sober- 
ness of mahogany without its sadness. . . . Most persons, in striving 
after effect, lose the likeness, when they must go together to produce a 
good effect. You must copy nature, but if you leave nature for an 
imaginary effect, you will lose all... . 

“Palette. Antwerp blue, white, yellow ochre, vermilion lake, burnt 
umber, ivory black, lake and vermilion for the blood, white and black 
for gray, yellow and black for green, black, vermilion, burnt umber 
and lake for the shadow; the three last used as glazing colors. . . . In 
laying on the dead color be bold, and put on the color freely, but let it 
be well mixed on the palette and on the brush, that a clear and decided 
touch may be given; no fuzzy edges, but liquid, and all of one cast. This 
will give liveliness, transparency and force to the head. . . . 

“ . . Drawing the features distinctly and carefully with chalk is 
loss of time; all studies should be made with the brush in hand. . . . 

“Be ever jealous about truth in painting, and preserve as pure as pos- 
sible the round, blunt stroke. . . . 

“Always use spirits of turpentine with white. . . . 

“The nose must be indented to give zest to the eyes. Be careful never 
to have the head higher colored than you wish it until the last sitting. 


85 


GILBERT STUART 


It is apt to give a heavy orange appearance. Never glaze until you have 
a sufficient body of color as will stand against all the accidents liable to 
picture-cleaning. Never put a light object in the shadows, or a dark 
object in the lights. ‘To produce extreme perspective, give great glow 
in the foreground. Artists often mistake in giving a low, deep tone to 
their backgrounds; for, by so endeavoring to bring out, they sink their 
subject. Backgrounds, dark in the direction of the light, are oftener 
agreeable than when they oppose the light.” 

To this should be added Dunlap’s statement: “It is remembered by 
many that Stuart generally produced a likeness on the panel or canvas, 
before painting in the eyes, his theory being.that on the nose, more 
than any other feature, likeness depended.” 

Stuart’s daughter, Jane Stuart, left notes concerning her father and 
among these is the following technical information: ““He commenced 
a portrait by drawing the head and features, and then he sketched in the 
general tone of the complexion; for this he seldom required more than 
four or five sittings, and frequently it was done in three sittings. The 
picture was never touched except when the sitter was in the chair. At 
the second sitting he introduced transparent flesh-tints, at the third he 
began to awaken it into life and give it expression, and then the individ- 
uality of the sitter came out. This was always done quickly.” 

Stuart’s idea about signatures has been recorded by Dunlap, who 
notes: ‘When asked why he did not put his name or initials to mark his 
pictures, he said, ‘I mark them all over.’” And, indeed, but very few of 
the portraits by Gilbert Stuart bear his signature. 


(Excerpts compiled by Theodore Bolton) 


86 


DESCRIPTIVE LIST 
OF THE PORTRAITS BY 
GILBERT STUART 


The following abbreviations are used : 


Mason—“The Life and Works of Gilbert Stuart,” by George C. 
Mason, New York, 1879. 

Strickland—“A Dictionary of Irish Artists,” by Walter G. 
Strickland, Dublin and London, 1913, Vol. II, pages 
408-417. | 

Fielding—“Paintings by Gilbert Stuart Not Mentioned in 
Mason’s Life of Stuart,” by Mantle Fielding, published in 
the “Pennsylvania Magazine of History and Biography,” 
1914, Vol. 38, pages 311-334; and “Addenda and Correc- 
tions to Paintings by Gilbert Stuart Not Noted in Mason’s: 
Life of Stuart,” by Mantle Fielding, published in the same 
magazine, 1920, Vol. 44, pages 88-91. 

J. Chaloner Smith—“British Mezzotinto Portraits,” by J. Chal- 
oner Smith, 1878-83. 

Stauffer—“American Engravers Upon Copper and Steel,” by 
David McNeely Stauffer, New York, 1907, 2 volumes. 
Staufter-Fielding—‘American Engravers Upon Copper and 
Steel,” by Mantle Fielding, Philadelphia, 1917. (A supple- 
ment to David McNeely Stauffer’s “American Engravers.”) 


In giving the dimensions of pictures, the height is given first. 

The abbreviation “(s)” stands for sight measurement, 1.e., the 
visible part of the picture inside the frame. 

Right and left are to be understood as the spectator’s right and 
left, unless in describing the pose of a sitter the phrase 
“turned to his (or her) right (or left)” is used. 


(I) 


JOHN ADAMS 
ib Pisin tee) 


HE son of John and Susanna (Boylston) Adams of Braintree, Mas- 

sachusetts. He was graduated from Harvard College in 1755, and 
in 1764 he married Abigail Smith (q.v.). He was Chief Justice of the 
Supreme Court of Massachusetts; delegate to the Continental Congress; 
Vice-President of the United States from 1789 to 1797; second Presi- 
dent of the United States from 1797 to 1801. 


Philadelphia, 1798. Canvas (s), 2812x2336 inches. Painted at the request of 
the Massachusetts Legislature, he is shown three-quarters left, with his dark blue 
eyes directed to the spectator. His forehead is broad and his complexion of a high 
color. His powdered hair is tied with a black string tie, and he wears a black velvet 
coat with white lace at the wrists, a white neckcloth and lace 7adot. His left arm 
rests on the arm of a gilded Empire chair upholstered in red, and his left hand, 
partially closed, is held in front of his body. The plain background is of warm 
brown tones. 

The portrait was not out of Stuart’s studio until 1812, and descended to John 
Adams’s grandson, Charles Francis Adams (1807-1886) of Boston, and then to 
his son, Brooks Adams, Esq., of Quincy, Massachusetts, and Boston. 


EXHIBITED at the Centennial Celebration of 5. By Bass Otis. This was engraved by 
Washington’s Inauguration, New York, J. B. Longacre for Sanderson’s “Sign- 
1889 (56). ers of the Declaration of Indepen- 

dence”; it was also reproduced in “Na- 
pe RATED of d reproduced frequently. tional Portrait Gallery,” Vol. IV, and 

Copies of this Stuart were made by a num- iv “Ite and Werke a jontAdams” 
ber of other artists. The following should by Charles Franca Adame. 
be mentioned: 

1. By Gilbert Stuart Newton, at the Mas- Note: Stuart painted six portraits of Adams, 
sachusetts Historical Society, Boston. but it is difficult to state definitely a his- 
2. By Gilbert Stuart Newton, at the Bos- tory of the earlier portraits. Adams, him- 
ton Athenzum. self, writing to F. A. Van Derkens, under 
3. By Jonathan Mason, at the New Eng- date of March 3, 1804, says: “I sat to him 
land Genealogical Society, Boston. (Stuart) at the request of the Massachu- 
4. By Asher Brown Durand, at the New setts Legislature, but have never seen any- 
York Historical Society. thing of the picture but the first sketch.” 


89 


The state of Massachusetts owns no por- phia in 1798, but which together with that 


trait of Adams by Stuart, and this picture of Mrs. Adams, was not out of Stuart’s 
mentioned by Adams may have been the studio and in the possession of the family 
portrait for which Adams sat in Philadel- until 1812. 

[ ZJlustrated | 


(Tea) 


JOHN ADAMS 
1735-1826 


Boston, c. 1810. Panel (s), 2734 x 2134 inches. This picture is a replica of the 
1798 portrait. 

It was presented in 1867 by Thomas Jefferson Bryan (1800-1870) of New 
York to the New York Historical Society. 


Nore: The catalogue of the Society gives the dimensions as 2214 x 20 inches, which is an 
error. 


auras) 


JOHN ADAMS 
1735-1826 


Boston, c. 1815. This portrait, a replica of the 1798 portrait, was one of a set of 
the first five Presidents, which were painted by Stuart for John Doggett, a well- 
known picture dealer of Boston. 

In 1839, when still owned by Doggett, they were sold to Abel Phillips of 
Boston for $2,861.50. They were removed to Washington, and an attempt was 
made to sell them to the Government to be placed in the White House. Four 
thousand five hundred dollars was asked for one of the portraits, and later $6,000. 
In 1846, a bill introduced in Congress to buy the set for the Executive Mansion at 
a sum not to exceed $1,000 apiece, was defeated and the portraits were kept in the 
Congressional Library at Washington until 1851, when this portrait of Adams, 


go 


together with those of Washington and Jefferson, was destroyed by fire. The 
portraits of Madison and Monroe were saved and passed into the possession of 
Colonel Peter A. Porter of Niagara Falls, New York, a member of Congress, who 
kept them until 1856, when he sent them to New York to be sold at auction. They 
were bought by A. B. Douglas of Brooklyn, who sold them in 1857 to Abiel 
Abbot Low of Brooklyn, New York (1811-1893), and at his death they were 
inherited by his son, Honorable Seth Low of New York. 


EXHIBITED at the exhibition of Stuart’s portraits, Boston, 1828, No. 28. 


ate): 


JOHN ADAMS 
735-1520 


Quincy, 1823. Canvas, 30x25 inches. Painted when Mr. Adams was in his 
eighty-eighth year, it is a most attractive picture of old age. He is dressed in black, 
and seated, turned slightly to the left, upon a sofa upholstered in dark red and 
studded with brass-headed nails. His right hand rests upon a cane, and his left arm 
is brought around with the forearm resting on his right hand. The background is 
brown. 

This portrait was inherited by his grandson, the Honorable Charles Francis 
Adams (1807-1886), and then passed to his son, John Quincy Adams (1833- 
1894), from whom it passed to his son, the present owner, Charles Francis Adams 


of Boston. 

ExHIBITED— ReEpropucED in Bowen’s “Centennial of 

At the exhibition of Stuart’s portraits, Bos- Washington’s Inauguration,” 1892, fac- 
ton, 1828, No. 194. ing page I7. 

At the Boston Atheneum, in 1836 and A copy was given to Tulane University, 
1846, by Charles Francis Adams. New Orleans, by Mrs. C. B. Sargent of 

At the Museum of Fine Arts, Boston, in Bordeaux, France. Another is owned by 
1880. the Redwood Library, Newport, Rhode 

ENGRAVED, on wood, by Kilburn, for Win- Island. A third one, by E. F. Anderson, 
sor’s “Memorial History of Boston,” is in the Senate Corridor, United States 
1881, Vol. III, page 192. Capitol, Washington. 


[ Zllustrated | 


gi 


ikea Wok 


JOHN ADAMS 
1735-1826 


Boston, c. 1825. Panel (s), 2532x21% inches. This is one of a set of portraits, 
painted by Stuart, of the first five Presidents, for Colonel George Gibbs (1776— 
1833) of Newport, Rhode Island. It is a modified replica of the 1798 portrait, 
but with a brownish-red coat and waistcoat, both with gold buttons, and no hands 
showing. His hair is powdered, and he wears a white neckcloth and frill, unfin- 
ished. The plain background is of warm brown tones. 

This portrait, together with its four companions, was sold by Colonel Gibbs’s 
widow to the Honorable Thomas Jefferson Coolidge (1831-1920) of Boston, 
who bequeathed the set of five portraits to his grandson, Thomas Jefferson 
Coolidge, Esq., of Boston. 


EXHIBITED— 
At a banquet held on the occasion of the At the Museum of Fine Arts, Boston, in 
semi-centennial of Washington’s inaugu- 1880 and in 1921. 


ration, at the City Hotel, New York, in At the Boston Art Club, in rgrt. 
1839. 
| Illustrated | 


C6) 


JOHN ADAMS 
1735-1826 


Boston, 182 5-26. Canvas, 30x25 inches. Very similar to the portrait painted in 
1823, only the curve of the sofa in the lower right corner is rounder. 

It was inherited by his son, John Quincy Adams (1767-1848), who left it by 
will to his granddaughter, Mary Louisa Adams, wife of William C. Johnson. It 
is now owned by Miss Louisa Adams Clement, of Newburyport, Massachusetts, a 
great-great-great-granddaughter of John Adams. 


g2 


| ¢ /are 
MRS. JOHN ADAMS 


1744-1818 


BIGAIL SMITH, daughter of William and Elizabeth (Quincy) 
Smith of Weymouth, Massachusetts. She married John Adams 
(q.v.), then a rising young lawyer of Braintree, Massachusetts, in 1764. 
In 1784 she went to Europe to join her husband in France, and later to 
England. Her letters, written to her husband, have been published and 
show an interesting picture of life during the Revolution. 


Boston, c. 1812.* Canvas (s), 2812 x 233 inches. She is shown, three-quarters 
right, seated in a yellow Empire armchair upholstered in figured satin of brownish- 
yellow, with her brown eyes directed to the spectator. Only a few ringlets of her 
brown hair show on her forehead beneath the white lace of her beribboned cap. 
She wears a mulberry-colored silk dress with the low neck filled in with a white 
muslin yoke, and long sleeves with lace at the wrists. Around her neck is a white 
lace collar in two folds. A thin white lace shaw] is thrown over her shoulders and 
falls onto her lap, in which her right hand lies; the left hand is not shown. The 
background is plain and of warm grays and browns. 

Her portrait descended to her son, John Quincy Adams (1767-1848) (q.v.) 
of Washington and Boston, then to her grandson, Charles Francis Adams (1807— 
1886) of Boston, and at his death to his son, Brooks Adams, Esq., of Boston, the 
present owner. 


ExHIBITED— By John Sartain for Laura C. Holloway’s 

At the Centennial Celebration of Washing- “Ladies of the White House,” 1886, Vol. 
ton’s Inauguration, NewYork, 1889 (57). I, page 106. 

At the Museum of Fine Arts, Boston, in Repropucep in Bowen’s “Centennial of 
1914, 1921 and 1923. Washington’s Inauguration,” 1892, fac- 

ENGRAVED— ing page 260. 

In stipple, by G. F. Storm, for Longacre & In half-tone, in M. C. Crawford’s “Social 
Herring’s “National Portrait Gallery of Life in Old New England,” 1914, facing 
Distinguished Americans,” 1839, Vol. 4, page 356. 
plate 2. * Although this portrait has usually been 

In E. A. Duyckinck’s “Portrait Gallery of attributed to the year 1804, for the date 
Eminent Men and Women,” 1873,Vol.], of its painting, the apparent age and the 
page 255. costume of the sitter suggest the later 

date. 
[ Illustrated | 


93 


ACrcHe 


JOHN QUINCY ADAMS 
1767-1848 


JAN of John Adams (q.v.), the second President of the United 
States, and his wife Abigail Smith (q.v.). He was named after his 
maternal grandfather. Entered the diplomatic career at the early age of 
fourteen, as private secretary to Francis Dana, envoy to Russia. Gradu- 
ated from Harvard College in 1787 and studied law with Theophilus 
Parsons (q.v.) for three years. In 1791 he was admitted to the bar. Ap- 
pointed minister resident at The Hague in 1794. Married in 1797 
Louisa Catherine Johnson (q.v.). Minister to Germany, 1797-1801; 
member of the Massachusetts Senate, 1802; United States Senate, 1803- 
08; minister plenipotentiary to Russia, 1809-14; minister plenipoten- 
tiary and envoy extraordinary to Great Britain, 1815-17; secretary of 
state under James Monroe, 1817-25; sixth President of the United 
States, 1825-29; member of the House of Representatives, 1830-48. 


Boston, 1818. Panel, 2634 x 22 inches. Bust portrait, turned three-quarters to 
the left, with his brown eyes directed to the spectator. His hair (he is bald on top 
of his head) and his sparse sidewhiskers are dark brown. He wears a high-collared 
black coat, white neckcloth and frill. The edge of a light-colored waistcoat is 
showing inside the lapels of his buttoned coat. Plain background in grayish tones. 
In “Diary of John Quincy Adams,” under date of September 19, 1818, is the fol- 
lowing entry: “I sat to Stuart before and after breakfast and found his conver- 
sation, as it had been at every sitting, very entertaining. His own figure is highly 
picturesque, with his dress always disordered, and taking snuff from a large, round 
tin wafer box, holding perhaps half a pound.” 

This portrait is in the possession of a descendant, Arthur Adams, Esq., of Boston. 


ExuiBitTepat the exhibition of Stuart’s por- In stipple, vignette, by J. B. Longacre, for 
traits, Boston, 1828, No. 164. the “Casket,” 1828, 3x 3.2 inches. (Stauf- 

ENGRAVED— fer, 1921.) 

In stipple, vignette, by J. B. Longacre, for In stipple, rectangular frame, by J. B. Long- 
“Te Souvenir, or Picturesque Pocket Di- acre, 6.14.x6.1 inches. Three states. (Stauf- 
ary for 1826,” 1 x 1.6 inches. (Stauffer, fer, 1920.) 

1922.) [ Zllustrated | 


“94. 


eo: 


JOHN QUINCY ADAMS 
1767-1848 


Quincy, 1825. Canvas, 9538x60% inches. This is a whole-length portrait, 
showing the subject standing, three-quarters right, with his brown eyes directed to 
the spectator. His hair is brown. He wears a high-collared, double-breasted black 
coat, cut away at the front, with long tails, and long black trousers. A narrow strip 
of his white waistcoat shows beneath the coat, from which depends a gold fob. At 
his right is a table covered with a neutral green cloth, resting against the folds of 
which on the floor in the lower left corner is a large book. On the table are brown 
and gray books, a black inkstand and sheets of paper, and Mr. Adams grasps with 
his right hand a packet of letters lying on the table. His left arm hangs at his side, 
the hand holding a scroll. In the background, at the left, is a brown wall and at the 
right is a vista through a Doric portico of a landscape of hills and trees with sky, in 
tones of whites, greens, blues and grays, with a marble statue in the foreground. 
Signed at lower left: 


STUART 
1825 

iIj.S. 
1830 


This portrait was ordered from Stuart in 1825 by Ward Nicholas Boylston (1749— 
1828) to present to Harvard College, but he got no further than to copy the head 
from the bust portrait of Adams which he painted in 1818. Stuart and Boylston 
both died in 1828, and in 1829 Thomas Sully was commissioned to finish it, for 
which he received three hundred and fifty dollars. The following notes from 
Sully’s Journal refer to this portrait and are printed here with the kind permission 
of Mrs. Mary H. Sully of Brooklyn, New York, the owner of the Journal: 


“New York—roth August (1829), Cresson and I arrived here last night. 
Put up at Mrs. Gordon’s, Pine St. Visited several acquaintances and at 4 set 
off for Boston where we arrived on the 12th and put up at the Exchange 
Coffee House. On the 13th removed my baggage to Roninson’s opposite the 
Common in Hamilton Place. . . . Visited Stuart’s family. Rode out to 
Quincy and made arrangements with Mr. Adams to sit for the purpose of 
finishing Stuart’s picture of him. 17th Finished the study of Adams. 21st 


95 


JOHN QUINCY ADAMS 


Removed Stuart’s whole length of Adams (from the stretcher) and had it 
cased up and shipped to Philadelphia.” 
According to Sully’s Register, he started to paint the picture on the 1st of Decem- 
ber, following. It is owned by Harvard University, and hangs in the Harvard 
Union, Cambridge, Massachusetts. 


EXHIBITED at the Boston Atheneum, 1831. 


(IO ): 
MRS. JOHN QUINCY ADAMS 
LT abo 
| pee CATHARINE, daughter of Joshua Johnson, married John 
Quincy Adams (q.v.) 1n 1797. 


Boston, August, 1818. Panel, 30x25 inches. The portrait shows her at half- 
length, turned slightly to the left and looking with her dark brown eyes at the | 
spectator. Over her light brown hair, which is arranged in puffs, she wears a large 
frilled lace cap, tied under her chin. Her tight-fitting dress, of a light blue color, 
is short-waisted and has a girdle. She also wears a lace collar and over her shoul- 
ders a red shawl. Her hands do not show. The background is filled by a brown 
curtain, draped back at the left and revealing the base of a column and a plain wall. 

This portrait was inherited by her son, Honorable Charles Francis Adams 
(1807-1886), and then by his son, John Quincy Adams (1833-1894). At the 
latter’s death it became the property of his widow, who bequeathed it to her son, 
Arthur Adams, Esq., the present owner. The portrait hangs in the house of his 
brother, Charles Francis Adams, Esq., of Boston. 

[ Zllustrated | 


( II )s 
ANDREW ALLEN 
1740-1825 
SON of William Allen, Chief Justice of Pennsylvania, studied law 


with his father and practised in Philadelphia. He became At- 
torney-General in 1766; Member of Committee of Safety. He was one 


96 


ANDREW ALLEN 


of a committee of three appointed by Colonial Congress to advise with 
Council of Safety and General Lee in New York, but, terrified by the 
capture of New York by the British, he went over to the British lines and 
took oath of allegiance to the King, and went to England. He never 
returned to America, and died in London. 


According to Sully, Andrew Allen was a Bostonian and was sitting to Stuart at 
Boston in 1807 when Sully made his visit to Stuart in that year, and Stuart allowed 
Sully to look over his shoulder while he was painting the portrait. (Biddle and 
Fielding’s “Life and Works of Thomas Sully.” ) 

“He was the English Consul at the time that his portrait was painted, and prob- 
ably on his return to England he took it with him.”” (Mason, page 127.) 


(12 ) 


JEREMIAH ALLEN 
1750-1809 


E was a son of Jeremiah and Elizabeth (Oulton) Allen of Boston. 
He was High Sheriff of Suffolk County, Massachusetts. 


Boston, c. 1808. Panel (s), 2732x22% inches. He is seated, three-quarters 
left, with his brown eyes directed slightly to the spectator’s left. His white hair is 
tied with a black bow, and he wears a dark blue coat with brass buttons, a buff 
waistcoat with a double row of small brass buttons, a white neckcloth and ruffled 
shirt. His face and body are fleshy, and his complexion is florid. The background 
is dark olive-green. The portrait was restored in 1845 by Darius Chase. 

On December 29, 1836, the picture was presented to the Massachusetts Histor- 
ical Society by Susan, widow of James Allen (1739-1808), probably a brother of 
Jeremiah. 


A copy, artist unknown, is in the possession hangs in the Royall House, Medford, 
of the Bostonian Society. Another copy Massachusetts. 


97 


( I 3 )s 
WASHINGTON ALLSTON 
1779-1843 

ASHINGTON ALLSTON, the well-known painter, was the 

elder son of Captain William Allston of Waccamaw Plantation, 
South Carolina, and his wife Rachel Moore, a celebrated beauty of the 
South. He was graduated from Harvard College in 1800 and studied 
from 1801 to 1803 at the Royal Academy in London. In 1804 he went 
with his friend John Vanderlyn to Paris, and thence to Rome, where he 
met Washington Irving, forming a friendship which lasted for life. He 
returned to America in 1809 and married Ann, daughter of William and 
Lucy (Ellery) Channing of Newport, Rhode Island. In 1811 they took 
up residence in England, where some of Allston’s best pictures were 
produced, and he was elected an associate member of the Royal 
Academy. After the death of his wife, Allston returned to America in 
1818 and opened a studio in Boston. He married, secondly, in 1830, 
Martha, daughter of Judge Francis Dana of Cambridge, Massachusetts, 
and sister of Richard Henry Dana. 

Boston, 1828. Oval, 21x17 inches, on rectangular canvas 24x 21% inches. 
This portrait—a mere sketch—only the head being painted, is a most interesting 
picture, and was considered by Mr. Allston’s friends as the best portrait of him 
ever made. According to Mason, Richard Henry Dana, Mr. Allston’s brother- 
in-law, said of this portrait: “It is a mere head, but such a head, and so like the 
man!” The hair is brown and the eyes are hazel. 

The portrait was painted for Edmund Dwight (1780-1849), and was unfin- 
ished at the time of Stuart’s death. It was inherited by his daughter, Mary Eliot 
Dwight (1821-1879), wife of Samuel Parkman of Boston, and then by her 
daughter, Ellen Twisleton Parkman, wife of William Warren Vaughan, Esq., 
of Boston. 

ENGRAVED, on wood, for Winsor’s “Memorial History of Boston,” 1881, Vol. IV, page 393. 
[ Illustrated | 


98 


( 14 )s 


FISHER AMES 
1758-1808 


SON of Doctor Nathaniel and Mary (Fisher) Ames of Dedham, 
Massachusetts. He graduated from Harvard in 1774, was a mem- 
ber of the United States Congress, 1789-97, becoming one of the most 
influential orators and writers of his time and constantly and zealously 
defending Washington’s administration. He married Frances Worth- 
ington, daughter of John Worthington of Springfield, Massachusetts. 
A few years before his death he was chosen president of Harvard, but 
declined on account of his delicate health. 


Boston, c. 1807. Shown at half-length, seated in an armchair, turned three- 
quarters to the left, with his dark gray eyes directed to the spectator. His hair is 
brown and parted on the side. He wears a dark coat, white standing collar and 
white stock. His left hand rests on a closed leather-bound book, which in turn rests 
on his knee. His right hand does not show. Plain dark background. 

His portrait, inherited by his widow, was presented by her to George Cabot, the 
editor of Fisher Ames’ “Works.” From him it passed eventually to his great- 
granddaughter, Anna Cabot, wife of John Ellerton Lodge, and at her death in 
1900 was inherited by her son, Honorable Henry Cabot Lodge (1850-1924), 
United States Senator from Massachusetts, whose son, John Lodge, presented it in 
1925 to the Smithsonian Institution of Washington, District of Columbia. 


Exursitep at exhibition of Stuart’s por- In stipple, by Thomas Gimbrede, 5 x 4.1 
traits, Boston, 1828, No. 32. inches. (Stauffer, 1033.) 
ENGRAVED— In stipple, by Thomas Kelly, 4.11 x 3.13 
In stipple, by David Edwin, 1809, 4.12 x inches. (Stauffer, 1593.) 
3.14 inches. (Stauffer, 702.) By Long, in Portfolio, Philadelphia, 1825, 
In stipple, by David Edwin, 4.11 x 3.12 Vol. 20, page 89. 
inches. (Stauffer, 703.) In stipple, by J. F. E. Prud’homme, after 
In stipple, oval, by David Edwin, 3.12 x David Edwin, 4.8 x 3.10 inches, for “Na- 
3.1 inches. (Stauffer, 704.) tional Portrait Gallery,” 1836, Vol. 3, 
In stipple, by John Boyd, 1814, 5.1 xX 4.3 plate 24. (Stauffer, 2556.) 
inches. Three states. (Stauffer, 245.) On wood, by H. Velten, for the Century 
In stipple, by W. S. Leney, 1814, 3.13 X3.2 Magazine, 1889, Vol. 15, page 807. 
inches. Two states. (Stauffer, 1707.) REPRODUCED, in Bowen’s “Centennial of 


99 


Washington’s Inauguration,” 1892, fac- A copy, painted in May, 1898, by Jacob 


ing page 89. Wagener, is in the Ames School, Dedham, 
A copy, painted by Edgar Parker of Boston, Massachusetts. 

is owned by the Bostonian Society, Boston. Another copy is owned by descendants of 
A copy, by Gilbert Stuart Newton, is in the Fisher Ames. 


Boston Athenzum. 
( 15 )s 
FISHER AMES 
1758-1808 


Boston, c. 1810. Canvas, 2798 x 22 % inches. A replica of the preceding portrait. 
The portrait was given by subscription in 1810 to Harvard University, and hangs 
in Memorial Hall, Cambridge, Massachusetts. 


EXHIBITED at the Centennial Exposition, Inauguration,” 1892, facing page 65. 
Fairmount Park, Philadelphia, in 1876. In Harvard Graduates’ Magazine, Boston, 
REPRODUCED— 1895, Vol. 4, page I. 


In Bowen’s “Centennial of Washington’s 


( 16 )s 
JOHN AMORY 
1759-1832 


OHN AMORY was a son of John and Katherine (Greene) Amory 
of Boston. He married, in 1792, Catherine Willard (q.v.). 


Boston, 1806. Panel, 2532x214 inches. He is shown bust, half-way to the 
right, with his laughing eyes directed towards the spectator. His dark brown hair 
is curly and slightly disheveled. He wears a black, high-collared coat, a white 
standing collar, a neckcloth and a pleated shirt ruffle. The background is plain. 

He bequeathed this portrait and the portrait of his wife to his only child, Cath- 
erine Willard Amory (died 1853), wife of Henry Codman. At her death the por- 
traits passed to her daughters, Catherine E. and Maria D. Codman, and at the 
death of Maria D. Codman they came into the possession of her niece, the present 
owner, Miss Martha C. Codman of Washington, District of Columbia, and 
Newport, Rhode Island. | 


[ Zllustrated | 


100 


( 17 )s 


~ MRS. JOHN AMORY 
1758-1831 


ATHERINE, daughter of Colonel Levi and Catherine (Chand- 
ler) Willard of Lancaster, Massachusetts. In 1792 she married 
John Amory (q.v.) of Boston, Massachusetts. 

Boston, 1806. Panel, 2532x211 inches. She is shown bust, turned half-way 
to the left, with her eyes looking slightly to the right of the spectator. Her light 
brown hair, with the exception of some luxuriant curls on her forehead and tem- 
ples, is entirely hidden by a turban of white dotted lace. She wears a tight-fitting, 
high-necked silk dress of pinkish gray, a shade which used to be known as “‘ashes 
of roses.” Over her right shoulder and forearm, and coming around her back onto 
her left arm, is a scarlet India scarf. The dress is finished at the neck with a wide 
double ruche of finely pleated white plain muslin, and a belt of white embroidered 
muslin tied in a bow, which gives a high-waisted effect. The background is quite 
plain. 

It is owned by Miss Martha C. Codman of Washington, District of Columbia, 
and Newport, Rhode Island. For history, see portrait of John Amory. 


[ Zllustrated | 


+( 1s ). 


JONATHAN AMORY 
1763-1820 


E wasa son of Johnand Katherine (Greene) Amory of Boston. He 

married in 1794. Lydia Fellowes, and was a merchant of Boston. 

He visited Europe with his family in 1810 and this portrait was probably 
painted shortly before he sailed from Boston. 

Boston, c. 1810. Panel (s), 263% x 2014 inches. Bust, three-quarters left, brown 


eyes to the spectator; he wears a dark blue coat with large brass buttons, a white 
neckcloth and ruffled shirt. His dark brown hair shows a high forehead, and is 


IOI 


JONATHAN AMORY 


brushed in long curls to the top of his head. He wears short curly sidewhiskers. The 
background is a warm gray. 

The portrait was inherited by his daughter Caroline S. Amory (1798-1866) of 
Boston, who had married in 1818 David Eckley of Boston. It passed at her death 
to her youngest son, Arthur Amory Eckley (1824-1870). He married in 1864 
Susan Hammond Thwing and, inheriting the portrait from her husband, it be- 
came, at her death, the property of her nephew Arthur Heathfield, Esq., of Paris, 
who sold it in 1913 to Messrs. M. Knoedler & Co. of New York, from whom it 
was purchased in 1920 by Robinson & Farr of Philadelphia. 


ExHIBITED— At the Inaugural Exhibition, Cleveland 
At the exhibition of Stuart’s portraits, Bos- (Ohio) Museum of Art, 1916. 
ton, 1828, No. 179. 
At the Boston Atheneum in 1866-67-69. Repropucep in “The Humane Society of 
At the Rhode Island School of Design, the Commonwealth of Massachusetts,” 
Providence, in 1914. Boston, 1918, facing page 76. 
[ Zllustrated | 


( IQ )s 
[7Adois 23 
HE was Elizabeth Cofhn, daughter of William and Ann (Holmes) 
Coffin of Nantucket, Massachusetts. She married in 1765 Thomas 
Amory of Boston. Mr. and Mrs. Amory were painted by Copley in 
1774, just before the artist left for England. 

Boston, c. 1806. Panel, 292x25 inches. Mrs. Amory is represented three- 
quarters left, as a stout, pleasant-faced woman, dressed in a low-cut black dress, 
partially filled in with thin white transparent material, trimmed with a ruffled 
fichu, leaving the neck and throat exposed. Upon her head she wears a white 
turban, over which run black ribbons which, passing under her chin, are tied in a 
bow at the right side of her neck. Her eyes are blue and directed to spectator. Her 


brown hair is in loose ringlets on her forehead and temples. About her mouth lurks 
a smile. The background is dark and of an even greenish-gray tone. There is a 


102 


MRS. THOMAS AMORY 


startling similarity in dress, coiffure, and ensemble between this portrait and 
Stuart’s portrait of Lady Temple (q.v.). 

Inherited at her death by her grandson, William Amory (1804-1888) of 
Boston, it was then bequeathed by him to his son, Charles Walter Amory (1842- 
1913) of Boston, and, by the terms of his father’s will, it then passed to his younger 
brother, Francis Inman Amory of Boston, and then to William Amory Gardner of 
Groton, Massachusetts, a great-great-grandson of the subject. 


ExHIBITED— men,” Copley Hall, Boston, March 11- 
At the exhibition of Stuart’s portraits, Bos- 31, 1895. 
ton, 1828, No. 24. REPRODUCED, in photogravure, in “The 
At the Museum of Fine Arts, Boston, in Descendants of Hugh Amory, 1605- 
1880. 1805,” by Gertrude Euphemia Meredith, 
At “Loan Collection of Portraits of Wo- London, 1901, facing page 250. 
[ Illustrated | 
-( 20 )s 
170261523 


HOMAS AMORY was a son of John and Katherine (Greene) 

Amory of Boston, where he became a prominent merchant. Much 
of his business life was spent in England and he suffered much loss 
during the War of 1812 by the destruction of his vessels. He built the 
house on the corner of Beacon and Park Streets in Boston, later known 
as Ticknor House. On account of his business reverses he never lived 
in it, but retired to his country house at Roxbury. In 1799 he married 
Elizabeth Bowen (1776-1857). 


Boston, c. 1807. Canvas, 29x24 inches. Bust portrait, three-quarters to the 
left, with his brown eyes directed to the spectator. His complexion is very fresh 
and clear, and his gray hair is tied with a queue bow. He wears a brown velvet 
coat; a white neckcloth and 7a4o¢. The plain background is shaded from a dark to 
a lighter grayish-brown. 

Thomas Amory gave his portrait to his sister, Rebecca Amory (1771-1842), 


103 


THOMAS AMORY 


wife of John Lowell (q.v.) of Boston, some time prior to his marriage in 1799. At 
Mrs. Lowell’s death the portrait passed to Mr. Amory’s widow, and at her death it 
was inherited by her daughter, Helen Maria Amory (1812-1893), the wife of 
Colonel William Raymond Lee (1807-1891) of Roxbury, Massachusetts. She 
bequeathed it to her daughter, Elizabeth Amory Lee, wife of Major-General 
Oswald Herbert Ernst of Washington, District of Columbia. 


EXHIBITED, at the Corcoran Gallery of Art, winter of 1898-99, and again from 1901 
Washington, District of Columbia, in the to 1903. 
[ Zllustrated | 


(21 ) 


THOMAS COFFIN AMORY 
1767-1812 


J JE was a son of Thomas and Elizabeth (Coffin) Amory (q.v.) of 
Boston, and married in 1795 Hannah Rowe Linzee (1775- 


1845). | 

Boston, c.1810. Panel, 29x235% inches. His portrait shows him three- 
quarters right, wearing a black high-collared coat, buttoned, a wide white collar, 
neckcloth and ruffles. His eyes, directed at the spectator, are blue, and his some- 
what dishevelled hair is brown. His right hand, the only one shown, is pressed 
against his breast, and holds, between the thumb and forefinger, a small magnify- 
ing glass. The background is dark and of an even grayish-brown tone. 

Inherited by his widow, Mr. Amory’s portrait passed at her death to their son, 
William Amory (1804-1888 ) of Boston, and from him to his son, Charles Walter 
Amory (1842-1913) of Boston. At his death it became, by the terms of the will of 
William Amory, the property of Charles Walter Amory’s brother, Francis Inman 
Amory of Boston, and from him passed to William Amory Gardner, Esq., of 
Groton, Massachusetts. 


ExHIBITED— At Copley Hall, Boston, in 1896. 
At the exhibition of Stuart’s portraits, Bos- REPRODUCED, in photogravure, in “The 
ton, 1828, No. 127. Descendants of Hugh Amory, 1605- 
At the Museum of Fine Arts, Boston, in 1805,” by Gertrude Euphemia Meredith; 
1880. London, 1901, facing page 258. 
[ Zllustrated | 


104 


(22 ): 


RICHARD ANNERSLY 
N official of the Custom House in Dublin. 


ExuIBITeED at Carlton House, London, in 1880, as by Stuart. 
Listed in Mason as “Richard Amersly.” 


( 2 3 )s 
CAPTAIN JOSEPH ANTHONY 
[735-1705 

OSEPH ANTHONY was born in Newport, Rhode Island, the 
J sixth child and fourth son of Albro and Susan (Hefferman) An- 
thony, and grandson of John Anthony, or Anthonie, as he wrote it, 
born in England in 1607, who came over to America in 1634. Joseph 
Anthony’s sister Elizabeth married Gilbert Stuart, Senior. He was at 
the head of a prominent mercantile house in Philadelphia and carried 
on trade between that city and the West Indies, also with New York and 
Boston. In many instances he commanded his own vessels. 


New York and Philadelphia, 1793-94. Canvas, 3512x 28 inches. He is shown 
seated, in a low-back writing-chair with a green top, at a table, half-way to right, 
with his blue eyes facing the spectator; his iron-gray hair fluffy over the ears. His 
right hand, which rests upon some papers on the table, holds a quill pen. He wears 
a dark blue coat with brass buttons, a buff waistcoat and white stock. The face is 
vigorously drawn and the painting rich and mellow in tone. 

This portrait was begun in New York and finished in Philadelphia the following 
year. Stuart alluded to this portrait in a letter to Joseph Anthony, dated New York, 
November 2, 1794: “The object of my journey is only to secure a picture of the 
President and finish yours.” (‘The original letter is in the possession of Thomas B. 
Clarke, Esq., New York City.) 

The portrait was inherited by his son, Joseph Anthony, Jr. (1762-1814); it 
passed at his death to his daughter, Eliza Anthony (1789-1821), wife of William 
Rudolph Smith of Philadelphia. At Mr. Smith’s death in 1868 the picture passed 
to his son, Duncan Smith (1812-1880), then to his widow, at whose death it 


105 


became the property of their son, William Rudolph Smith of Philadelphia, and 
was sold by his heirs in 1923 to the present owner, Thomas B. Clarke, Esq., of New 
York City. 


ExHIBITED— At Union League Club, New York, March, 


At a Loan Exhibition of Historical Por- 1924. 
traits held at the Pennsylvania Academy REPRODUCED, in half-tone, in “Masters in 
of the Fine Arts, Philadelphia, Decem- Art—Stuart,” 1906, plate 6. 
ber 1, 1887, to January 15, 1888. Not listed in Mason. 
Listed in Fielding, No. 1. 
[ Zllustrated | 


CAPTAIN JOSEPH ANTHONY 
175 Selgoo 


Philadelphia, 1795. Canvas, 28x22 inches. Bust portrait, with body turned 
slightly to the right, and his blue eyes directed towards the spectator. His com- 
plexion is florid and mottled. He wears an old-blue brocaded coat, a pale yellow 
striped waistcoat, several buttons of which are unfastened. The background is of 
a warm gray tone. 

Professor Oliver Wolcott Gibbs (1822-1908) of Cambridge, Massachusetts, 
owned this portrait and bequeathed it to the Pennsylvania Academy of the Fine 
Arts, Philadelphia. 

ExuisBitep at “The First Chronological in March, 1872, No. 98c. 
Exhibition of American Art of the Brook- Detroit Publishing Co., copyright. 
lyn Art Association,” Brooklyn, NewYork, 

[ Zllustrated | 


( 25 )s 
CAPTAIN JOSEPH ANTHONY 
L7g0alayo 


Philadelphia, 1795. Canvas, 30x25 inches. Half-length, turned very slightly 
to the right, with his blue eyes directed to the spectator. He wears a bluish-green 
coat with a yellow waistcoat, two buttons of which are unfastened, and a rather 
low white neckcloth. His hair is light and his complexion florid.’ A plain back- 
ground in sepia tones. 


106 


CAPTAIN JOSEPH ANTHONY 


This portrait was owned by Miss Sprogel, a relative of Captain Anthony, to 
whom it had come through inheritance. She sold it to Doctor J. Cheston Morris, 
and it is now owned by his son, Lawrence Johnson Morris, Esq., of ‘““Fernbank,” 
Birmingham Township, Chester County, Pennsylvania. 


ExHIBITED— sition, San Francisco, 1915. 
At the Museum of Fine Arts, Boston, 1880. Not listed in Mason. 
At the Panama-Pacific International Expo- Listed in Fielding, No. 1. 

[ Zllustrated | 


(26> 


JUDGE JOSEPH ANTHONY, JR. 
1762-1814 


SON of Joseph (q.v.) and Elizabeth (Shefheld) Anthony of Phila- 

delphia, and first cousin of Gilbert Stuart. He married Henrietta 
Hillegas (q.v.)in 1785. 

Philadelphia, c. 1798. Canvas, 30x 241% inches. He is shown life-size, bust, 


seated, three-quarters left, with his blue eyes directed to the spectator. His com- 
plexion is ruddy and clear, and his hair is powdered. He wears a dark blue coat with 
small brass buttons, and a white neckcloth tied in a bow. In the background a red 
curtain is draped behind the figure, showing at the left lower corner a dark blue sky 
with touches above of lighter blues and yellows. 

Inherited by his daughter, Henrietta Hillegas Anthony (1798-1868), who 
married for her second husband, in 1829, Samuel Clement (1789-1869) of 
Huntingdon, Pennsylvania. At his death it passed to their daughter, Elizabeth 
Tylee Clement of Huntingdon, who sold it to the Ehrich Galleries of New York, 
from whom it was purchased in 1905 by the Metropolitan Museum of Art, New 
York City. 


REPRODUCED— In half-tone, in “One Hundred Early 
In half-tone, in Academy Notes, the Buf- American Paintings,” Ehrich Galleries, 
falo Fine Arts Academy, Albright Art New York, 1918, page 107. 
Gallery, Buffalo, New York, September, In half-tone, in The Arts, February, 1925, 
1905. page 80. 
| Zllustrated | 


107 


( 27 )s 
MRS. JOSEPH ANTHONY, JR. 
1766-1812 


HE was Henrietta Hillegas, the daughter of Michael and Henrietta 

Ai Boude) Hillegas of Philadelphia, her father being the first treas- 
urer of the United States. She married Joseph Anthony, Junior (q.v.) of 
Philadelphia, in 1785. 


Philadelphia, c. 1798. Canvas, 297% x 2438 inches. She is shown seated, with 
her face and figure turned slightly to the right, and her clear blue eyes directed to 
the spectator. A blue ribbon passes through the abundant curled and powdered 
blond hair which falls in curls at the back of her neck. She is dressed in a white silk 
décolleté dress with a light blue sash, and with a grayish-white scarf over her right 
forearm. The chair is upholstered in a rich red, and is studded with brass nails. In 
the background is a deep rich red curtain drawn aside at the right, disclosing blue 
sky and yellowish clouds. The picture is painted within an oval, with a spandrel of 
dark reddish-brown. 

Inherited at her death by her husband, who survived her two years, it passed 
at his death to their daughter, Henrietta Hillegas Anthony, wife of Samuel 
Clement, and from then on the history of this portrait is identical with that of the 
companion portrait of Judge Joseph Anthony. It is now owned by the Metropol- 
itan Museum of Art, New York City. 3 | 


ENGRAVED, on wood, by Henry Wolf, for tan Museum of Art, September, 1906. 
Harper's Magazine, August, 1922, page In half-tone, in “One Hundred Early 
B77. American Portraits,” published by the 

Ehrich Galleries, New York, 1918, page 

REPRODUCED— 106. 

In half-tone, in Academy Notes, Buffalo In half-tone, in The Arts, February, 1925, 
Fine Arts Academy, September, 1905. page 81. 

In half-tone, in Bulletin of the Metropoli- Not listed in Mason. 

[ Illustrated | 


108 


-( 28 ): 


JOSEPH ANTHONY, 2rd 
: 1786-1804 
E was a son of Joseph and Henrietta (Hillegas) Anthony, Junior 


.v.) of Philadelphia, and a grandson of Stuart’s uncle, Captain 
‘J P gr P 
Joseph Anthony (q.v.). 


Philadelphia, c. 1802. Canvas (s), 2834x2334 inches. He is shown bust, 
head and figure turned three-quarters left, with his blue eyes directed to the 
spectator, and a fresh and florid complexion. He wears a brown wig, and his side- 
whiskers are powdered. About his neck is a broad white neckcloth tied in a loose 
bow under his throat, and a bit of his buff waistcoat shows near his neck. The back- 
ground is plain and dark. The whole portrait is so thinly painted that the texture of 
the canvas is everywhere visible. 

The portrait was owned by Mary Ann Davis (died 1881), wife of Henry Win- 
sor of Philadelphia, and at her death was inherited by her daughter Louise Winsor 
(1835-1892), wife of Francis Brooks (1824-1891 ) of Boston, and is now owned 
by their son Frederick Brooks, Esq., of Boston. 


ExuIsiTep at the Museum of Fine Arts, Not listed in Mason. 
Boston, in 1880. Listed in Fielding, No. 2. 
[ Illustrated | 


( 29 )s 
NATHAN APPLETON 
1779-1861 

ATHAN APPLETON was a son of Isaac and Mary (Adams) 

Appleton of New Ipswich, New Hampshire. He married at 
Pittsfield, Massachusetts, in 1806, Maria Theresa Gold (q.v.) of Pitts- 
field. She died in Boston in 1833, and he married in Boston, Harriot 
(Coffin), daughter of Jesse and Harriot (Coffin) Sumner, who died in 
Boston in 1867. 


Boston, c. 1812. Panel, 2734x2238 inches. He is shown bust, three-quarters 
left, with his blue eyes directed to the spectator. He has curly reddish-brown hair 


109 


NATHAN APPLETON 


and sidewhiskers, and a ruddy complexion. His white neckcloth, collar, and shirt 
ruffles show above his blue high-collared coat with its small brass buttons. The 
background is of an even tone of greenish-gray, showing a pilaster against which 
the subject’s head is centered. 

His portrait passed at his death to his son-in-law, Henry Wadsworth Longfel- 
low, the poet, and at his death, in 1882, was inherited, with Mrs. Appleton’s por- 
trait, by his children. It is now deposited in the Longfellow House in Cambridge, 
Massachusetts, in the possession of the Longfellow House Trust: Messrs. John F. 
Moors, Dudley L. Pickman, Jr., and Edmund Parker, trustees. 


ExHIBITED— duced in Winsor’s “Memorial History of 
At the exhibition of Stuart’s portraits, Bos- Boston,” 1881, Vol. IV, page 105. 
ton, 1828, No. 148. A copy, made in 1891 by Ernest Wads- 
At the Museum of Fine Arts in Boston in worth Longfellow, a grandson of Mr. 
1880. . Appleton, is owned by the Estate of Mrs. 
ENGRAVED on wood by Kilburn and repro- Greely S. Curtis. 


( 30 )s 


MRS. NATHAN APPLETON 
1786-1833 


HE was Maria Theresa Gold, daughter of Thomas and Martha 
(Marsh) Gold of Pittsfield, Massachusetts. She married in 1806 
Nathan Appleton (q.v.) of Boston. 


Boston, c. 1812. Panel (s), 2778x2258 inches. She is shown seated three- 
quarters right, with her head and eyes turned to the right. She wears a low-necked 
white silk dress, with short puffed sleeves, narrow shoulder straps of the same 
material, and the high waist encircled by a narrow white sash or ribbon. Over her 
left shoulder and upper arm is throwna silk scarf or shawl of Antwerp blue which, 
passing across her back, conceals most of her right arm. Her left arm rests upon 
the arm of an Empire sofa upholstered in figured silk of rose buff, and the hand 
hangs gracefully at her side. Her reddish-brown hair is arranged in a variety of 
curls on her head and at the back of the neck, and parted on the forehead, hanging 


IIO 


MRS. NATHAN APPLETON 


in long ringlets over her temples. The eyes are dark brown, and her complexion is 
of high color. The background is plain and of low neutral tones. Of this portrait 
the head only is by Stuart, all the remainder having been painted by Jane Stuart. 

Her portrait came into the possession of her husband, and at his death, in 1861, 
passed to her son-in-law, Henry Wadsworth Longfellow, the poet, who married 
Frances Elizabeth Appleton (1817-1861). At Professor Longfellow’s death, in 
1882, the portrait was inherited by his children, and is now deposited in the Long- 
fellow House, in Cambridge, Massachusetts, in the possession of the Longfellow 
House Trust: Messrs. John F. Moors, Dudley L. Pickman, Jr., and Edmund 
Parker, trustees. 


ExHIBITED— At “Loan Collection of Portraits of Wo- 
At the Museum of Fine Arts, Boston, in men,” at Copley Hall, Boston, in March, 
1880. 1895. 


( 31 )s 


MRS. JAMES ARDEN 
1757-1806 


HE was Elizabeth Deane, daughter of Richard and Mary (Odlum) 

Deane, of Tullamore, Kings County, Ireland, where she was born. 
She came to New York with her parents in 1763 and married there in 
1776 James Arden (1753-1822), son of Thomas and Mary Antoinette 
(Bland) Arden of New York. Her husband was a man of considerable 
wealth which he accumulated principally as an East India merchant, 
and in 1795 he bought of John Cornell the house which Cornell had 
built at the eastern end of the Brooklyn ferry. To this house, Arden 
added wings and laid out about it gardens which were for a long time 
locally famous. 


New York, c. 1794. Canvas, 291x235 inches. She is shown seated, three- 
quarters left, with her gray-blue eyes directed to the spectator, with an expression 


III 


MRS. JAMES ARDEN 


of questioning surprise. Her head is tilted slightly toward her right, and is covered 
with a luxuriant mass of curled, wavy, powdered hair standing well out from her 
head, and falling in large loose curls at the back of her neck. High on her head 
towards her right, is a pale blue bow, and in the hair is a string of large pearls. She 
wears a very décolleté bluish-white silk dress, the neck trimmed with ruffles of 
the same color, and the sleeves, which extend just below the elbow, are caught on 
the upper arm by a band of small pearls. About her waist is a broad grayish-blue 
sash of silk, and from the centre of the bodice is looped a string of large pearls 
which disappears behind the left arm. Her left hand, open, rests upon her lap, the 
right hand lightly clasping her left forearm. Her coloring is rather florid. In the 
lower right corner, at her left elbow, is a gray cloak. The background is formed 
of a dense mass of brownish-green foliage against which the head is relieved, and 
at the left is an expanse of blue sky with a distant low-lying bluish hill, above 
which is a narrow stretch of yellow sunset sky. 

Mrs. Arden left her portrait to her daughter, Elizabeth Bogart Arden (1786- 
18..), who married in New York for her second husband St. Martin Souverbie 
of Bordeaux, France, and by whom the picture was taken to Bordeaux, where it has 
ever since remained. At her death it passed to her daughter, Elizabeth Souverbie 
(1816-1905), wife of Leon Delpech of Bordeaux, who bequeathed it to her only 
child, Jeanne Marie Delpech (1861-1910), who married for her second husband 
the Vicomte Eduard du Fresnel of Bordeaux. The Vicomtesse du Fresnel be- 
queathed it to the Bordeaux Museum, where it was received in July, 1911, and 
attributed to Sir Joshua Reynolds. 

Not listed in Mason. Listed in Fielding, No. 3. 
[ Zllustrated | 


( 22 )s 
JOHN ARMIT 
1759-1835 
E was the son of William Armit, a Scot, and his wife of Newtown 
Hall, Blackrock, County Dublin, Ireland. He was presumably 


of the firm of Armit & Borough, army agents, which was founded in 
Dublin in 1797. He was appointed, in 1789, Secretary of the Board of 


yt 


I12 


JOHN ARMIT 


Ordnance of Ireland. In 1784 he took out a patent of armorial bearings. 
He married in 1796 Mary, daughter of Nathaniel Warren who, in 1782, 
had been Lord Mayor of Dublin, and a Member of Parliament in 1784. 

Dublin, c. 1790. Canvas, 30x24 inches, oval opening, 2814x224 inches. He 
is shown bust, face and figure turned slightly to the left, with his blue eyes directed 
to the spectator. His complexion is fresh. He wears a powdered wig, white neck- 
cloth, tie and frilled shirt, brown coat with a double row of brass buttons, and a bit 
of yellow waistcoat showing. The background is brown. 

His daughter Eliza (d. 1877) married in 1832 Hugh Seymour Blane (179 5- 
1869) of Berkshire, who, in 1834, succeeded his father as second Baronet. She 
inherited the picture, and at her death it passed to her son, Sir Seymour John Blane 
(1833-1911) of Culverlands, Berkshire, third Baronet. At his death it passed 
to his nephew and successor, Sir Charles Rodney Blane (1879-1916), fourth 
Baronet, by whom the picture was sold to a Philadelphia dealer, who in turn sold 
it, in 1916, to John D. M’Ilhenny, Esq., of Philadelphia. 


EXHIBITED at the Pennsylvania Academy Not listed in Mason. 
of the Fine Arts, Philadelphia, inthe sum- 
mer of 1917. 


C331): 
LORD AND LADY ASHBURTON 


Mason lists their names and says that their portraits are in England. 


G34): 


COLONEL JOHN BAPTISTA ASHE 
1748-1802 


E was a son of Governor Samuel Ashe of Bath County, North 
Carolina, by his wife, Mary Porter. He was a captain in the Con- 
tinental army at the outbreak of the Revolutionary War, and after dis- 
tinguishing himself at the battle of Eutaw, was made colonel. He was a 
member of the North Carolina House of Commons in 1786, and of the 


113 


COLONEL JOHN BAPTISTA ASHE 


State Senate in 1789 to 1795; a delegate to the last Continental Congress 
in 1787 to 1788, and a member of the first and second congresses of 
1789 to 1793. In 1802 he was elected Governor of North Carolina, but 
died before the inauguration. He married, on October 7, 1779, Eliza- 
beth Montfort, daughter of Joseph Montfort. 


Philadelphia, c. 1800. Canvas, 36x 28 inches. He is shown half-length, seated 
three-quarters left, in an armchair upholstered in rose-pink velvet, with his 
large brown eyes directed to the spectator. His powdered wig is tied with a narrow 
black queue ribbon. On his left jaw is a small mole. He wears a white neckcloth, 
and full muslin tie; a brownish-plum-colored coat, buttoned, with slashed cuffs 
with wrist ruffles; a buff waistcoat, showing at the waist and at each side of the 
neckcloth, where it is embroidered with brown thread. His left hand is on his lap, 
holding slate-colored gloves. An iron-red curtain is in the background, with lay- 
ender high lights, draped back at the left, showing blue sky with gray clouds. 

The portrait was given to his daughter, Mrs. Gadsden, in 1802, and hung in the 
Ashe house on Edisto River until the house was burned, and then until 1865 in the 
Ashe house on South Battery, Charleston, South Carolina. It was taken in 1866 by 
Mrs. Gadsden’s granddaughter, Mrs. Stephen Decatur Doar, to Harrietta Plan- 
tation, on South Santee River, South Carolina, where it remained until 1922, when 
it was sold by Mrs. Doar’s daughter, Mrs. George D. Shore (Charlotte C. Doar) 
of Sumter, South Carolina, to Thomas B. Clarke, Esq., of New York. 

EXHIBITED at the Union League Club, New York City, February, 1924. 


Not listed in Mason. 
[ Zllustrated | 


(Ss Sa: 
SIR CROPLEY ASHLEY-COOPER 
1768-1851 
E was a son of Anthony, fourth Earl of Shaftesbury, by his wife, 
Lady Susannah Noel, daughter of the third Earl of Gainsborough. 


He married in 1796 Lady Anne Spencer Churchill (1774-1865), 
daughter of George, fourth Duke of Marlborough. His eldest son and 


114 


SIR CROPLEY ASHLEY-COOPER 


successor was the eminent philanthropist, Anthony (1801-1885), 
seventh Ear]. Cropley Ashley-Cooper succeeded his brother in 1811 as 
the sixth Earl and held the title for forty years, dying in his eighty-third 
year. 


Philadelphia, 1799. Canvas, 2814 x 23% inches. He is shown life-size, half- 
length, seated, three-quarters right, in a chair upholstered in blue and studded with 
brass-headed tacks. His large blue eyes are directed to the right. His complexion is 
ruddy, and his retreating forehead very high, the top of his head being bald, and 
his natural hair is powdered. He wears a white linen or muslin neckcloth and shirt 
frill, and a double-breasted white waistcoat with small white buttons. His coat, 
thrown open, is of a greenish-gray shade, with a brown collar and large brass 
buttons. At his right elbow is a table upon which lie three books, one above the 
other: two being in shades of golden yellow, and one in green, and on one is the 
title: “U.S. 1799.” His right hand, only partially shown at the bottom of the 
canvas, rests in his lap, and holds an opened letter. In the background is draped a 
large crimson curtain, and to the right is shown a bit of blue sky with white clouds. 

In 1910 this portrait belonged to Charles Brunner, the Paris dealer. In 1912 it 
was presented by Mrs. Florence Scott Libbey to the Toledo (Ohio) Museum of 
Art, in memory of her father, Maurice Scott. 


REPRODUCED— In half-tone, in Art and Progress, August, 
In half-tone,in the catalogue of the Charles 1913. 
Brunner Gallery, Paris, 1910 (17). Not listed in Mason. 
Listed in Fielding, No. 34. 
[ Zllustrated | 


‘C36 ) 


WILLIAM ASPINWALL 
1743-1823 
Ree SON of Thomas and Joanna (Gardener) Aspinwall of Brook- 


line, Massachusetts. He was graduated from Harvard College in 
1764. After teaching school at Groton, Brighton and Brookline, Mas- 
sachusetts, he took up the study of medicine with Doctor Benjamin Gale 


I1§ 


WILLIAM ASPINWALL 


at Killingsworth, Connecticut, after which he entered the Pennsylvania 
Hospital, Philadelphia. He was an active participant in the Revolu- 
tionary War and was in the Battle of Lexington. He was advised to 
serve in the Medical Department of the Army and, in June, 1775, was 
appointed Surgeon of the hospital at Roxbury, Massachusetts, by Con- 
gress of Colony of Massachusetts, and in August of the same year, Sur- 
geon of the “American Hospital.” In 1778 he was with the Army under 
General Sullivan in Rhode Island. After the close of the war, he opened 
a smallpox hospital which was very successful. He held many public 
offices and helped to support many institutions. On June 26, 1776, he 
married Susanna Gardner, by whom he had seven children. When a 
young man he lost the sight of his right eye due, it is said, to blood 
poisoning incurred while performing a surgical operation. In his old 


age he became totally blind. 


Boston, 1814. Panel, 28 x 225% inches. A bust portrait; his body turned three- 
quarters to the left, with his brown eyes directed to the spectator, the right eye 
appears slightly less bright than the left. His hair is white and curly, and is tied 
with a black queue bow. His kindly, genial face is ruddy and a smile seems to hover 
around his lips. He wears a high-collared black broadcloth coat; a white neck- 
cloth and ruffled shirt. The background is a dark brown, with a curtain of a lighter 
shade at the right. 

It is related of this portrait that “it bore such a striking resemblance to George 
Washington that, at the time of the anti-slavery riots, in New York City, when 
the house of Lewis Tappan, in Rose Street, was mobbed (he being a noted abo- 
litionist) and its furniture burned in the street, this picture remained untouched, 
the rioters believing it to be a portrait of Washington.” 

This portrait was painted at the request of Doctor Aspinwall’s daughter Susanna, 
wife of Lewis Tappan, and she and her husband, who survived her by many years, 
were the first owners. In 1873, at the death of Lewis Tappan, the portrait came 
into the possession of his son, William Aspinwall Tappan (d.1905), who 
bequeathed it to his two daughters, Ellen Sturgis Tappan (d.1924), wife of 
Richard C. Dixey, and Mary Aspinwall Tappan. Upon the death of Mrs. Dixey 


116 


WILLIAM ASPINWALL 


her share of the portrait was inherited by her daughter, Rosamond Sturgis Dixey, 
wife of Graham Brooks, Esq. The picture is therefore owned jointly by Miss 
Mary Aspinwall Tappan and Mrs. Graham Brooks, both of Boston. 


ExHIBITED— and 1915-1917. 
At exhibition of Stuart’s portraits, Boston, At Art Club, Boston, 1911. 
1828, No. 158. A copy is owned by Thomas Gardner Aspin- 
At Museum of Fine Arts, Boston, in 1880, wall, Esq., Chestnut Hill, Philadelphia. 
[ Zllustrated | 


A ayo 


JOHN JACOB ASTOR 
W7O0eetoaro 


ORN at Waldorf, near Heidelberg, Germany. About 1781 he 

made his way to London, where he learned the English language 
and saved up enough to come to America in 1783, bringing with him, 
according to an old Lutheran clergyman who wrote his life: “A pious, 
true and godly spirit, a clear understanding, sound elbow grease, and a 
wish to put it to good use.” He settled in New York, where he became 
amerchant and capitalist. Accounts of his life show that he was untiring 
in his business deals, whether with Indians, bartering for furs, or with 
England and China in disposing of them. “In personality he was most 
interesting; a shrewd and enterprising business man, yet large-hearted 
and public-spirited to a fault. In his dealings with the Indians he was 
careful to maintain a wise and liberal course. . . . In his business deal- 
ings he was the soul of honor and integrity, and enjoyed the respect of 
all.” (National Cyclopedia of American Biography.) Among his 
closest friends were men of science and literature. At the suggestion of 
Washington Irving he bequeathed $400,000 to found the Astor Library. 


y 1a? 


Healso left $50,000 for an orphanage in Waldorf, Germany, which was 
opened in 1854. 


New York, 1794. Canvas, 30x25 inches. He is shown bust, three-quarters left, 
with his dark brown eyes directed to the spectator. His powdered hair, brushed 
‘ back, is tied with a black ribbon and his complexion is ruddy. He wears a greenish- 
gray, high-collared and double-breasted coat with large pearl buttons; a buff- 
colored waistcoat with small blue polka dots, and a lace tie. A plain background of 
very warm tone. 

This was the first portrait of John Jacob Astor painted by Stuart, and was an 
oval ona rectangular canvas. Upon its completion John Jacob Astor did not like its 
shape and asked Stuart to change it to a rectangle, which the artist proceeded to do. 
This still did not satisfy Mr. Astor, who thereupon requested Stuart to paint an 
entirely new portrait, an exact duplicate, only differing in the shape. This was 
done and the portrait is described in the following pedigree. 

This portrait was owned originally by the Gardiner family of Gardiner Island, 
Long Island, New York; then by the Tyler family of Virginia. In 1909 it was 
purchased by the Brook Club, of New York City. 


ExuIBITEp at the Union League Club, New Not listed in Mason. 
York City, February 9 to 13, 1922 (1). Listed in Fielding, No. 4. 
[ Illustrated | 


‘C38 D: 


JOHN JACOB ASTOR 
1763-1848 


New York, c. 1794. Canvas. This portrait was painted for John Jacob Astor 
when he refused to take possession of the first one. Similar in pose, but a half- 
length, showing him seated in an armchair with hands clasped. There are slight 
differences in the setting of the coat and the treatment of the neckpiece, and a con- 
siderable difference in the features and expression. 

Inherited by his son, William Backhouse Astor (1792-1875) of New York, 
then by his son, John Jacob Astor (1822-1890), from whom it passed to his son, 
William Waldorf Astor (1848-1920), afterwards first Viscount Astor, who took 


118 


JOHN JACOB ASTOR 


it with him to England about 1890 when he became a British subject. At his death 
the portrait was inherited by his son, Waldorf Astor, the second Viscount. 


ENGRAVED, in line, in vignette (Published London, 1899, Vol. 17, page 145. 

by) Elias Dexter (New York). In half-tone, in Mary C. Crawford’s “Ro- 
REPRODUCED— mantic Days in the Early Republic,” 1912, 
In photogravure, in Pall Mall Magazine, facing page 131. 


G39): 


CHARLES HUMPHREY ATHERTON 


1773-1853 

SON of Joshua and Abigail (Goss) Atherton of Amherst, New 
Hampshire. He was graduated from Harvard College in 1794, 
studied law, and practiced in Amherst, where for many years he was at 
the head of the Hillsborough County bar. He was registrar of probate 
from 1798 to 1807; United States Congressman from 1815 to 18173 a 
member of the state legislature in 1823, 1838, and 1839. In 1803, he 
married Mary Ann Toppan (1780-1817), daughter of Christopher 
Toppan of Hampton, New Hampshire. They had seven children but 

no grandchildren. 

Boston, 1823. Canvas, 27x 22% inches. He is shown bust, three-quarters left, 
with his small very dark brown eyes directed to the spectator. His short brown 
hair and thin sidewhiskers are turning gray, and his thin oval face has a very ruddy 
pink complexion. He wears a white turned-over collar, white linen neckerchief, 


and a high-collared black coat which is buttoned. The plain background is of 
brownish-gray tones, and his hands are not shown. 

At Mr. Atherton’s death his portrait was inherited by his son, Charles Gordon 
Atherton (1804-1853) of Nashua, New Hampshire, who survived his father 
only two months. At his death it passed to his widow who, after living in Nashua 
for many years, removed shortly before her death in 1889 to Roxbury, Massachu- 
setts. Mrs. Atherton bequeathed the portrait to her sister Frances Mary, widow of 
Reverend Alonzo Hill, D.D., of Worcester, Massachusetts, and in 1893 Mrs. Hill 
presented it to the Amherst Town Library, in the town of Mr, Atherton’s birth. 

[ Zllustrated | 


119 


( AO )s 
MRS. ROBERT NICHOLLS AUCHMUTY 


HE was Henrietta, daughter of Henry John Overing of Newport, 
Rhode Island. She married at Newport (Trinity Church record) in 
1785 her second cousin, Robert Nicholls Auchmuty, son of the Rev- 
erend Samuel Auchmuty, and her married life was spent in Newport. 


Boston, c. 1815. Canvas, 34x28 inches. She is shown seated, three-quarters 
left, ina chair upholstered in red, with her blue eyes directed to the spectator, her 
hands clasped in her lap. She wears a black gown, close-fitting, with a lace ruff in 
two falls about the neck. On her head is a white lace-trimmed cap, tied in a bow 
under her chin, and this conceals almost all of her dark brown hair. A lace shawl 
has fallen from her left shoulder, and covers her right arm. The drapery in the 
background is a dark maroon, and to the left there is a bit of seascape. 

Her portrait was owned in 1907 by Mrs. E. D. Townsend, Washington, D. C. 
In June, 1921, it was bought by Herbert L. Pratt, Esq., of New York City and 
Glen Cove, Long Island. 


ExHIBITED— REPRODUCED— 
At the exhibition of Stuart’s portraits, Bos- In photogravure, in Updike’s “History of 

ton, 1828, No. 133. the Narragansett Church,” Vol. I, facing 
At the Exhibition of Colonial Portraits at page 502. 

the Fine Arts Building, West 57th Street, In the catalogue of the Exhibition of Colo- 

New York City, in May, 1921. nial Portraits, May, 1921, New York. 

In half-tone, in The Arts, New York, May, 
1921. 
[ Zllustrated | 


( AI )s 
ADAM BABCOCK 
L740 gb ode 
ON of Doctor Joshua and Hannah (Stenton) Babcock of Westerly, 


Rhode Island. He was a successful merchant and ship-commander 
who, for his second wife, married in 1779 Martha Hubbard (q.v.). In 


120 


ADAM BABCOCK 


1806 he purchased for a summer home the estate in Brookline, Massa-. 
chusetts, which was then, and is still known as “Green Hill.” His win- 
ters were passed in Boston. 


Boston, c. 1810. Panel, 3234x26% inches. Seated, three-quarters to the left, 
in an armchair upholstered in crimson velvet, with his blue eyes directed to the © 
spectator. His complexion is florid and his white hair is tied in a queue bow. He 
wears a black coat with white neckcloth and ruffle. In his left hand he holds a 
snuffbox in such a way as to show only three of his fingers. It is said that someone 
noticed this, and asked Stuart where the other finger was; to which the answer was 
made that “it might be in the snuffbox.” 

In 1879 this portrait was owned by a grandson, William Babcock of San Fran- 
cisco. It is now in the possession of Henry Babcock, Esq., of San Francisco, Cali- 
fornia, a great-grandson of the subject. 

[ Illustrated | 


( A2 )s 
MRS. ADAM BABCOCK 
1758-1838 


HE was Martha Hubbard, daughter of Daniel and Mary (Greene) 
Hubbard of Boston, both of whom were painted by Copley. She 
married in 1779, as his second wife, Captain Adam Babcock (q.v.) 


of Boston. 

Boston, c. 1812. Panel (s), 3234 x 26% inches. Her portrait, an interesting one 
and in excellent condition, shows her seated, three-quarters right, in an Empire 
armchair, upholstered in red. Her hair, of a very dark brown color, is parted and 
worn in loose ringlets on her forehead and temples. Her eyes, directed to the spec- 
tator, and her eyebrows are also dark brown, but her coloring is fair and not as 
brilliant as that of many of Stuart’s sitters. She wears a white muslin dress, open at 
the throat, where it is trimmed with ruffles of white lace. Over her shoulders and 
arms is a pale mauve shawl with gold fringe. Her bare forearms lie on her lap, and 
her hands are clasped. The background is plain and dark. 

The portrait was inherited at her death by her daughter, Martha Hubbard 


I2I 


MRS. ADAM BABCOCK 


Babcock (1781-1863), who married, first, in 1800, George Higginson (1779- 
1812), and, secondly, in 1813, his brother, James Perkins Higginson (1791— 
1878), and passed at her death to her son, Henry Frederick Higginson (1825- 
1891), who gave it to his sister, Frances Saltonstall Higginson (1814-1901), 
wife of Charles Dudley Head of Brookline, Massachusetts, and at her death it was 
inherited by her daughter, Miss Elizabeth Frazier Head of Brookline. 


The portrait has never been exhibited. 
| Z2lustrated | 


sGa ei oh 


COMMODORE WILLIAM BAINBRIDGE 
1774-1833 
E was born in Princeton, New Jersey, and entered the merchant 
marine at the age of fifteen. Upon the organization of the navy in 
1798 he was made Lieutenant-Commandant. In 1812 he was given the 
command of the “Constitution,” which fell in with the British frigate 
“Java”; after an action which lasted one hour and fifty-five minutes the 
latter surrendered. Upon his return to the United States he was given the 
command of the Charleston Navy Yard. He was the first to advocate a 
board of commissioners for the navy, and he presided at the meeting of 
the first board for the examination of young naval officers in 1819. In 
1798 he married, at the island of St. Bartholomew, Susan Hyleger, 
daughter of a merchant and granddaughter of John Hyleger of Holland, 
for many years Governor of St. Eustatia. 
Boston, c. 1813. Canvas (s), 28 x 2134 inches. He is shown bust, his body front, 
his head three-quarters right, with his brown eyes directed to the spectator’s right. 
His hair, turning gray and brushed up in a topknot, and his sidewhiskers are 


brown, and his complexion florid. He wears a white standing collar; black stock; 
double-breasted dark blue coat with its upturned collar trimmed with gold braid, 


122 


COMMODORE WILLIAM BAINBRIDGE 


with gold epaulettes and a double row of gold buttons. The plain background is of 
browns and grays. 

His portrait was inherited by his widow and at her death in 18 59 it passed to her 
daughter, Lucy Ann (1815-1884), wife of Ashbel G. Jaudon of New York City, 
and at her death it became the property of her four daughters. It was bequeathed 
by the survivor of them, Miss Susan Bainbridge Jaudon (d. 1924) of New York 
City, to her nephew, Bainbridge Frothingham, Esq., of Boston. 


EXHIBITED at Museum of Fine Arts, Bos- A copy, made in 1918, is owned by Mrs. 
ton, 1924. Francis Rogers of New York City. 

ENGRAVED— 

In stipple, by David Edwin, 4.14 x 3.14 Nore: The picture which Mason lists as a 
inches (Stauffer, 708). Stuart, deposited in the Lyceum at the 

In stipple, by David Edwin, in 1813, for Brooklyn Navy Yard, and which now is 
the Analectic Magazine, 3.11 x 3 inches. in the United States Naval Academy, 
Four states, showing radical changes in Annapolis, Maryland, is the work of John 
uniform (Stauffer, 709). W. Jarvis. It was engraved in stipple by 

In mezzotint (oval), by John Sartain, as G. Parker for the National Portrait Gal- 
frontispiece to “American Naval Biog- lery. 
raphy,” 1844. [ Zllustrated | 


105 mies 


SIR HENRY LORRAINE BAKER 
1787-1859 

Ae of Robert and Dinah (Hayley) Baker of Upper Dunstable 

House, Richmond, Surrey, England. His father was created a 
baronet in 1796, and the son succeeded as second baronet upon his 
father’s death in 1826. His mother was a niece of the celebrated John 
Wilkes, and a daughter of George Hayley, an alderman of London and 
a merchant, with extensive business relations with the American Colo- 
nies. After George Hayley’s death, the widow came to America to adjust 
her husband’s affairs and settled in Boston, where she became well 
known for her eccentricities and her lavish entertainments. Here she 
met a young Scotsman, Patrick Jeffrey, and, although twice his age, she 


123 


SIR HENRY LORRAINE BAKER 


married him and turned over to him most of her fortune. They separated 
after a few years, Mrs. Jeffrey removing to Portsmouth, New Hamp- 
shire, and a little later, in 1791, returned to England. Her grandson, 
Henry Lorraine Baker, came to America with Admiral Cockburn in 
1814, says Mason, “when the British fleet was trying to push its way up 
the Potomac. At that time he was in command of a sloop-of-war, the 
‘Fairy,’ and, during an engagement, was wounded in the cheek by a 
musket-ball, he having come to this country to see if he could recover 
land in New England that had belonged to George Hayley.” Henry 
Lorraine Baker returned to England and in 1820 married Louisa Anne 
(d. 1867), only daughter of William Williams, Esq., of Castle Hall, 
Dorset. They had seven children; his eldest son, Reverend Henry Wil- 
liams Baker (1821-1877), the well-known hymn writer, succeeded him 
as third baronet. Sir Henry Lorraine Baker rose to the rank of vice- 
admiral in the British Navy and was made Companion of the Bath. 


Boston, 1817. Panel, 26x21 inches. He is shown bust, half-way to the right, 
with his grayish-blue eyes directed to the spectator. His curly hair is chestnut and 
on his right cheek the scar from his wound can be seen. He wears a bluish-black 
coat, a waistcoat edged with small white ruffle, and a white neckcloth and ruffled 
shirt. On his left breast can be seen the decoration of the Order of the Bath: a gold 
Maltese cross on crimson ribbon. The plain background is of rich olive green tones. 

Sir Henry Lorraine Baker presented his portrait to Mrs. Elwyn of Portsmouth, 
New Hampshire, a daughter of Governor John Langdon of New Hampshire. At 
Mrs. Elwyn’s death it passed to her son, Alfred Langdon Elwyn of Philadelphia, 
who, in 1891,* gave it to the Pennsylvania Academy of the Fine Arts, Philadel- 
phia, in exchange for a portrait of himself as a child, painted by Thomas Sully. 


* There is some discrepancy here between emy of the Fine Arts in 1853 as “Portrait 
the date of death of Reverend A. L. El- of a Gentleman.” 
wyn (1884) and the date (1891) when, At Loan Exhibition of Historical Portraits 
according to the catalogue of the Penri- from December 1, 1887, to January 15, 
sylvania Academy, he made the exchange. 1888, held at the Pennsylvania Academy 
EXHIBITED— of the Fine Arts, Philadelphia. 
By Mrs. Elwyn at the Pennsylvania Acad- 
[ Zllustrated | 


124 


(45): 


JOSEPH BALL 
1755-1021 


HE fourth son of John and Mary (Richards) Ball, of Douglas 

Township, Berks County, Pennsylvania. In his early days he was 
manager of the then extensive iron works at Batsto, New Jersey, at which 
plant shot and shell in large quantities were made for the Continental 
Army. In 1779 he became sole proprietor, but two years later he sold 
the works to his uncle, William Richards. Between 1785 and 1810 he 
invested largely in various shipping ventures. He was also interested in 
realty, not only in Philadelphia, where he lived after disposing of the 
Batsto works, but in distant counties of the State, and as far as Kentucky 
and Ohio. In 1789 he was an alderman in Philadelphia; in 1791, a 
director of the Bank of the United States; in 1794, a trustee of the Uni- 
versity of Pennsylvania. He organized and was made first president of 
the Insurance Company of America in 1798; five years later he organ- 
ized the Union Insurance Company, and in 1809, was president of the 
“Pennsylvania Company for Insurance on Lives and Granting Annui- 
ties.” He married Sarah (1757-1826), daughter of Captain George and 
Margaret (Pennington) May (May’s Landing, New Jersey, near At- 
lantic City, takes its name from Captain May). 

Philadelphia, 1803. Shown at half-length, seated in a carved and upholstered 
armchair, turned half-way to the left, with his keen dark eyes directed to the 
spectator. He has a fleshy face and double chin, and his hair, which is turning 
_ gray, is worn rather long and tied in a queue bow. He wears a black coat, white 
standing collar, white neckcloth and frilled shirt. In his left hand he is holding 
some papers, the right hand does not show. The background is composed of an 
architectural fluted column on a parapet and a curtain, draped back at the left and 


revealing a glimpse of cloudy sky. 
The present whereabouts of this portrait is unknown, but it is most likely in 


125 


JOSEPH BALL 


the possession of descendants. However, the Philadelphia Company for Insurance 
of Lives and Granting Annuities owns a large (c. 30x 25 inches) photograph of it 
from which our reproduction has been made. 


REPRODUCED, in half-tone, in “Genealog- A copy of this picture, on panel, 2914 x 21 


ical History of the Du Puy Family,” by 
Charles Meredith Du Puy, with additions 
by his son, Herbert Du Puy, privately 
printed, Philadelphia, 1910, facing page 
74, “from the painting in the possession 


of Harriet R. Robeson, Au Sable Fork, 


inches, artist unknown, is in the posses- 
sion of Herbert Du Puy, Esq., of Pitts- 
burgh, Pennsylvania, who acquired it in 
1924 from Carl Benjamin Brodie, Esq. 
This picture was exhibited, with the attri- 
bution to Stuart, at the Loan Exhibition 


INR aoa 
Not listed in Mason. 
Listed in Fielding, No. 5. 


of Early American Portraits at the Car- 
negie Institute, Pittsburgh, in January 
and February, 1925. 


[ Zllustrated | 


‘( 46 ): 


JOHN BANNISTER 


1744-1807 


SON of John and Hermione (Pelham) Bannister of Newport, 
Rhode Island. He was graduated from Harvard College in 1764, 
and married in 1768 Christian Stelle (q.v.). He favored the American 
cause in the Revolution and, in consequence, suffered considerably 
from the British. He was a merchant in Newport. His only child, John 
Bannister, Jr., lived and died in Newport and left no descendants. + 
Newport, c.1774. Canvas, 36x30 inches. Shown three-quarters, standing 
three-quarters to the right, with his blue eyes directed to the spectator. His dark 
hair is tied in a queue bow and his complexion is ruddy. He wears a dark red velvet 
coat with gold trimmings, with buttons to match, a white neckcloth with white 


ruffled shirt showing through the partially unbuttoned waistcoat. Ruffles are also 
seen at the wrists. His right hand is almost entirely thrust into a pocket of the waist- 


126 


JOHN BANNISTER 


coat, while his left hand is grasping the bosom of his shirt. The background, which 
shows a panel or wall, is in tones of gray and grayish-green. 

This portrait and that of Mrs. John Bannister and her son were, according to 
Mason, painted by Stuart at the age of 13. As John Bannister, Jr., was born in 
1769 and in the picture appears to be between four and five years of age, this can 
hardly be correct. 

The picture is owned by the Redwood Library, Newport, Rhode Island. 


REPRODUCED, in half-tone, in G. C. Lee’s “History of North America,” Vol. 5, facing 
page 289. 
[ Illustrated | 


seat ae) 


MRS. JOHN BANNISTER AND HER SON 


HRISTIAN STELLE, daughter of Captain Isaac Stelle of New- 
port, Rhode Island. She married in 1768 John Bannister (q.v.) 
and is shown in this portrait with her only child, John Bannister, Jr. 


(1769-1831). 


Newport, c. 1774. Canvas, 36x 30 inches. She is shown seated in an armchair 
upholstered in red, three-quarters to the left, with her brown eyes directed slightly 
to the left of the spectator. She wears a white dress and a cloak of pale whitish- 
blue, trimmed with ermine. Her very dark brown hair is brushed back from her 
forehead, and a curl is seen on her right shoulder. Her complexion is very delicate. 
Her little son, standing by her side, has blue eyes and light brown hair, and wears 
a whate coat and waistcoat with his shirt opened at the neck. On her knee is a white 
and brown spaniel. The background, showing a wall or panel, is in tones of gray 
and gray-green. 

The picture is owned by the Redwood Library, Newport, Rhode Island. 


REPRODUCED, inhalf-tone, in“Little Known lished by the Copley Gallery, Boston, and 
Early American Painters” (No. 4), pub- attributed to Cosmo Alexander. 
[ Zllustrated | 


127 


1 ASe 


JOHN BARCLAY 
Died 1816 


OHN BARCLAY of Ballyshannon, Ireland. He came to Philadel- 
phia in 1767, where he became an eminent shipping merchant, and 
in 1791 was Mayor of the city. He was the first president of the old Bank 
of Pennsylvania. 


Philadelphia, c. 1795. Canvas, 29x22 inches. Bust portrait, three-quarters to 
the left, with his light brown eyes directed to the spectator. His powdered wig is 
tied in a queue bow and he wears a blue high-collared coat, a white neckcloth and 
ruffled shirt. Plain background of dark brown. 

The tradition is that this portrait was given by Stuart as a personal gift to Mrs. 
John Barclay. In 1879 it was owned by her grandson, Doctor Biddle of Philadel- 
phia; in 1888 by Mrs. Caroline Biddle; later by Anna C. Biddle; then by Mrs. 
Clement S. Phillips of Philadelphia, and is now in the possession of Mrs. Alfred 
C. Prime of Philadelphia. 


ExuisirTep at “Loan Exhibition of Histor- January 15, 1888, at the Pennsylvania 
ical Portraits” from December 1, 1887, to Academy of the Fine Arts, Philadelphia. 


Gia be) 2 


MRS. JAMES BARD 
c.1785-c. 1876 


HE was Isabella MacDonald MacNichol of Inverness, Scotland, 
where she was born, the daughter of Admiral MacNichol of the 
British Navy during the Revolutionary War, who received from King 
George a large grant of land in Nova Scotia and who brought his family 
over from Scotland. She married, while very young, James Bard of Bel- 
mont—the Bard Estates—near Dublin, Ireland. 


Boston, c. 1825. Canvas, 2012 x 16% inches. This portrait shows her head only, 
three-quarters left, and her blue eyes to the spectator. Her dark brown hair is 


128 


MRS. JAMES BARD 


parted on her forehead, with curls hanging at the sides of her face. An unfinished 
white scarf or cap is tied at the right side of her neck. The background is plain, 
with an underground of grayish pink. She is apparently from forty to forty-five 
years old. 

Inherited, at her death, by her daughter, Mrs. Mary (Bard) Woodcock, at 
whose death it passed to her daughter Mrs. Frank Hunter Potter of New York. 


Not listed in Mason. 
[ Illustrated | 


( 50 )s 
SIR WILLIAM BARKER 
Died 1818 

SON of Sir William Barker, third Baronet of Bocking Hall, Essex, 
England, and Kilcooley Abbey, County Tipperary, Ireland, by 

his wife Mary, daughter of Valentine Quinn of Adare, County Limer- 
ick, Ireland. He married a Miss Lane (q.v.), but died without issue, 
and the baronetcy expired, while the estates devolved on his nephew, 
Chambré Brabazon Ponsonby (died 1834), who assumed the additional 


name of Barker. 


Owned by T. B. Ponsonby, Esq., of Kilcooley Abbey, County Tipperary, Ire- 
land, who in a letter dated June 10, 1925, expresses the opinion that the Barker 
portraits were painted at Kilcooley “because the detail of landscape in them is 
absolutely correct.” 


Not listed in Mason. 
Listed in Strickland as by Stuart and as painted in 1791. 


( 51 )s 
SIR WILLIAM BARKER 
Died 1818 


This second portrait of him is also owned by T. B. Ponsonby, Esq., of Kilcooley 
Abbey, County Tipperary, Ireland. 
Not listed in Mason. Listed in Strickland as by Stuart. 


129 


( 52 )s 
LADY BARKER 


HE was a Miss Lane, daughter of William Lane of Dublin, and 
married Sir William Barker (q.v.). 
Shown seated at a tambour frame, according to Strickland. 


Owned by T. B. Ponsonby, Esq., Kilcooley Abbey, County Tipperary, Ireland. 


Not listed in Mason. Listed in Strickland as by Stuart. 


532: 


COLONEL ISAAC BARRE 
1720-1802 | 


ORN in Ireland, the son of a French refugee,and educated at Trin- 
B ity College, Dublin. He entered the British army and served with 
Wolfe at Quebec, being at his side when he fell. Was renowned for his 
eloquent championship of the American cause in the Parliamentary 
struggle of the Stamp Act in 1765. The characterization of the Ameri- 
cans as ‘Sons of Liberty,” a title adopted later by patriotic societies in 
the American Colonies, owed its origin to Isaac Barré’s application of the 
term to the Americans. He was unequalled as an orator in opposition to 
the government, and his name was mentioned, with others, as the author 
of the “Letters of Junius.” In 1766 Colonel Barré was made Treasurer 
of Ireland. In 1790 he retired from Parliament on account of his loss of 
sight, the result of a severe wound he had received at Quebec. He is rep- 
resented in the group around Wolfe in Benjamin West’s celebrated 
picture, “The Taking of Quebec.” The town of Wilkes-Barre, Penn- 
sylvania, was named after him in conjunction with Wilkes; and the 
towns of Barre, Vermont, and Barre, Massachusetts, were also named 
after him. 


130 


COLONEL ISAAC BARRE 


According to Mason (pages 17-18), in a letter to Sully, Stuart wrote 
as follows: “Lord St. Vincent, the Duke of Northumberland and 
Colonel Barré came unexpectedly one morning into my room, locked 
the door, and then made known the object of their visit. They under- 
stood that I was under pecuniary embarrassment and offered me assist- 
ance, which I declined. Then they said they would sit for their portraits; 
of course I was ready to serve them. They then advised me that I should 
make it a rule that half price must be paid at the first sitting. They 
insisted on setting the example, and I followed the practice ever since 
after this delicate mode of showing their friendship.” 


London, 1785. Canvas, 3614 x 28% inches. He is shown three-quarters, seated 
in a red-backed chair by a table on which may be seen a package of papers. He is 
turned three-quarters to the left with his eyes gazing to the left of the spectator. 
His white hair is worn brushed back and tied with a bow. He wears a dark blue 
velvet coat, a black neckpiece with white collar and fine linen ruffled shirt. In his 
left hand he holds a rolled document; his right hand is not seen. Plain dark 
background. 

The portrait was formerly in the collection of Lord St. Vincent, in England, 
where it remained until recently. At an anonymous sale at Christie’s, London, in 
1912, lot No. 109, it was described as a portrait of Admiral Barrington by J. 
Hoppner, R.A., and was sold for £16 to Mr. Frank T. Sabin, the London dealer. 
It was exhibited by dealers in New York, Boston and Philadelphia in 1913 and 
1914, and was then returned to Mr. Sabin who, in 1916, sold it to the Brooklyn 
Museum, Brooklyn, New York. 


ExuiBiTep at the exhibition of Early Amer- REPRODUCED— 
ican Paintings, Brooklyn Museum, Feb- In Muther, “The History of Modern 
ruary 3 to March 12, 1917, No. 9o. Painting,” 1907, Vol. 4, page 287 (after 
engraving). 


ENGRAVED, in line, by John Hall, 1787, 
117% x 8% inches. Two states. 

In stipple, vignette, by W. T. Fry, for the 
“British Gallery,” 1817, Vol. I, plate 9. 
(Republished in 1822.) 


In half-tone, in the Brooklyn Museum 
Quarterly, Vol. 4, No. 1, Plate 20 (Jan- 
MAEVeCT OL) amin 

In half-tone, in the catalogue of the Brook- 
lyn Museum Exhibition, 1917, facing 
page 82. 

[ Zllustrated | 


iat 


Or pos 


COLONEL ISAAC BARRE 
Lye Ocleo2 
London, c. 1785. Canvas, 2834 x23 inches. This portrait of Colonel Barré 


is very similar to the previous one, with the difference that it is painted in an oval 
and is a bust portrait. 
The National Portrait Gallery, in London, purchased it in January, 1899. 


REPRODUCED, in half-tone,in the “National Nore: Strickland erroneously states that 
Portrait Gallery,” by Lionel Cust, 1901, this picture was engraved by John Hall in 
Vol. I, page 317 (No. sous 1787, confusing it with the previously 

Not listed in Mason. mentioned portrait, which Hall did en- 

grave. 


sG ob ws 


MRS. BRYAN BARRETT 


1759-1834 
DAUGHTER of Jonathan Tyers, and the wife of Bryan Barrett of 
Stockwell, County Surrey, England. } 


London, c. 1785. Canvas, 50x 40 inches. She is shown three-quarters length, 
seated, turned to the left, on a settee upholstered in brilliant red velvet, with brass- 
headed nails and gold fringe. Her brown eyes, with dark brown eyebrows, are 
turned to the spectator, and her curly hair, tied with a broad white ribbon passed 
around the head with a bow at the side, is powdered and dressed with curls showing 
on each side of the neck. She wears a simple dress of soft white material gathered 
in at the waist with a black satin sash. The V-shaped neck is finished with a double 
ruffled fichu, and the sleeves are long and tight-fitting. In her left hand, on the 
third finger of which may be seen a gold band ring, she holds a straw hat trimmed 
with black satin ribbon. On her right hand, resting on the arm of the settee, she 
wears a chamois-colored glove and holds the second glove between the thumb and 
the index. At the right is a brilliant red damask curtain and at the left a dark gray 
stone column and pedestal. The background is dark brown. 

The portrait was purchased in 1921 by Messrs. M. Knoedler & Co. of New York 


132 


MRS. BRYAN BARRETT 


City, from the collection of Lieutenant-Colonel Boyd C. P. Hamilton of Brandon 
House, Brandon, Suffolk, England. 


REPRODUCED, in half-tone, in International Studio, January, 1922. 
Not listed in Mason. [Titasirated| 


‘C56 


ADMIRAL SAMUEL BARRINGTON 
1729-1800 
E was the fourth son of John Shute, first Viscount Barrington, and 
his wife, Anne, daughter of Sir William Daines. He was Admiral 
of the White, and never married. 


London, 1785. Canvas, 30x25 inches. Oval opening, 2834x2334 inches. 
He is shown bust, three-quarters left, with his blue eyes directed to the spectator. 
He has natural white hair and ruddy complexion, and is wearing a dark blue uni- 
form coat with gilt frogs on the revers, brass buttons and a white satin facing; a 
white turned-over collar, black stock, and white shirt ruffles. His hands are not 
shown. The background is composed of a sky of dark browns, blues, and white, 
flecked with pink. 

Bought from the family in England in 1922 by Messrs. Lewis & Simmons of 
London and New York, the picture was brought to New York and sold to Elbert 
H. Gary, Esq., of New York. 


ENGRAVED, in stipple, by F. Bartolozzi in 1822, for the “British Gallery,” Vol. I, plate II. 
[ Zllustrated | 


Aa vierk 
MISS ANN BARRY 
DAUGHTER of James David Barry (q.v.). According to Mason, 


- M she was a girl of remarkable beauty, who died from consumption 
ona return voyage from Madeira. 


The portrait was inherited by her sister, Mary Barry (q.v.), wife of Edmund 
Ducatel, from whom it passed to her grandson, G. W. Whistler, Esq., of Balti- 
more, who owned it in 1880. 


133 


SS): 
JAMES DAVID BARRY 


N Irishman who came to this country as British consul in the latter 
years of the eighteenth century. He resided in New York and also 
in Washington, District of Columbia. 


The portrait was inherited, according to Mason, by a nephew, Robert Barry of 
Baltimore. Later on it was in the possession of C. M. Leupp, and at the sale of his 
collection was purchased by John Taylor Johnston. At the sale of the Johnston 
collection it came into possession of W. T. Walters, Esq., of Baltimore, who owned 
it in 1880. 


aap) 


COMMODORE JOHN BARRY 


1745-1803 


OHN BARRY was born in Tacumshane, County Wexford. He 

followed the sea from childhood and, settling in Philadelphia, 
acquired wealth as a master of a vessel. During the Revolution he 
had, successively, command of the ‘Lexington,’ ‘Effingham’ and the 
‘Raleigh,’ and made some brilliant captures of the enemy’s vessels. 
Upon the establishment of the new navy in 1794 he was named the 
senior officer, with the rank of Commodore, from which circumstance 
he is known as the father of the United States Navy. He died in Phila- 
delphia. 

Philadelphia, c. 1801. Canvas, c. 30x25 inches (? ). Bust, three-quarters to the 
right. His thin white hair is tied ina queue bow. His uniform coat is blue with buff 
lapels and high standing collar, gold epaulettes and buttons; and he is wearing the 
badge of the Society of the Cincinnati in his lapel. Plain background of neutral 
color. 

The portrait descended to P. Barry Hayes, and from him to his widow, who 


134 


COMMODORE JOHN BARRY 


became the wife of Doctor Leiper of Philadelphia, who owned it in 1879. It is 
now in the possession of Mrs. William Horace Hepburn of Philadelphia, a grand- 
niece of the Commodore. 


EncRAVED— REPRODUCED, in half-tone, in “Commo- 
In line, by J. B. Longacre, in “National Por- dore John Barry,” by W.B. Meany, 1911, 
trait Gallery of Distinguished Americans,” frontispiece. 
New York, 1835, Vol. 2, plate 16 (Stauf- A copy, by Colin Campbell Cooper, is in In- 
fer, 1928). dependence Hall, Philadelphia. 


In stipple, oval, by David Edwin, 3.15 x 
3.4 inches (Stauffer, 711). 
[ Illustrated | 


-( 60 ) 


MISS MARY BARRY 


YOUNGER daughter of James David Barry (q.v.). She married 
Edmund Ducatel, the geologist of Maryland. 


Inherited by her grandson, G. W. Whistler, Esq., of Baltimore, who owned it 
in 1880. 


( 6I )s 


MISS ANN BARTLETT 
1798-1884 


HE was the youngest daughter of Thomas Bartlett (q.v.) of Boston, 

by his first wite, Alice (Fitzpatrick) Wyer. She married in 1825 
Jonathan Dwight (1799-1856) of Springfield, Massachusetts, and after 
living in Boston and Springfield and Newport, Rhode Island, at which 
latter place Mr. Dwight died, Mrs. Dwight passed a year or two in 
Europe, and in 185g settled in New York, where her portrait has been 
ever since. 


Roxbury, 1814. Panel (s), 2832x2258 inches. She is represented as seated, 
three-quarters left, in an armchair of light wood, upholstered in red velvet. She 


135 


MISS ANN BARTLETT 


wears a high-waisted white dress cut low, with a square neck, and sleeves reaching 
less than half way to the elbow. Over her right shoulder is thrown a pale yellow 
shawl which entirely covers her right arm, leaving only the right hand resting on 
her lap, exposed. Her hair, parted and worn in loose curls and ringlets on her fore- 
head and temples, is light brown, and her coloring is bright and rosy. In the back- 
ground is a large column draped with a red curtain and in the distance a blue sky 
with grayish clouds. Mrs. Dwight, writing from New York to her nephew, the 
late Thomas Bartlett, Esq., of Longwood, Massachusetts, under date of September 
9, 1878, says: “Your mother and I sat in Stuart’s studio, then in Roxbury in the 
year 1816 (1814). I was 16 when it was painted and I remember my father 
making some comment on the drapery, the crusty old man (Stuart) saying: ‘I 
don’t want people to look at my pictures and say: “How beautiful the Drapery is!” 
—the face is what I care about.’ He was full of anecdote all the while he was 
painting. His anecdotes were always droll, keeping his sitters in a perpetual laugh. 
I can remember the snuff-box to suffocation. I often wondered he could breathe 
with such a nose full. His young sitters would be sure to sneeze under the ordeal 
and sometimes the old. I can see him now in his slovenly attire.” 

Inherited at Mrs. Dwight’s death by her son, Jonathan Dwight (1831-1910), 
it passed to his widow, who died in 1914, when it became the property of her son, 
John Dwight, Esq., of New York. 


This is most likely the picture that was ex- traits, Boston, 1828, as a portrait of Mrs. 
hibited at the exhibition of Stuart’s por- John Dwight (No. 112). 


a ( 62 )s 


JOHN BARTLETT, M.D. 
1760-1844 


PHYSICIAN of Roxbury, Massachusetts, graduated from Har- 

vard College in 1781. He was one of the founders of the Roxbury 
Charitable Society and of the Humane Society of Massachusetts; a 
trustee of the Roxbury Latin School; president of the Bank of Norfolk 


136 


JOHN BARTLETT, M.D. 


in Roxbury; and a Fellow of the Massachusetts Medical Society. In 
1789 he married Abigail Williams (q.v.). In 1823 he received the hon- 
orary degree of M.D. from Harvard. 


Boston, c. 1814. Panel, 2834x231 inches. He is shown a little over bust size, 
turned half-way to the right, with his blue eyes directed to the spectator. His 
head is bald with gray hair at the side and white sidewhiskers. He wears a black 
coat and white waistcoat, white neckcloth and ruffled shirt. The plain background 
is of brown tones. 

The portrait was inherited by his daughter, Theoda Williams Bartlett (1790— 
1873), wife of John Standish Foster, then passed to her daughter, Theoda Davis 
Foster (1811-1888), wife of Solon Wanton Bush, then to their son Doctor John 
Standish Foster Bush (1850-1922) of Boston, who left it to his daughter, Miss 
Theoda Foster Bush of Boston, the present owner. 


EXHIBITED at Museum of Fine Arts, Bos- Courtesy, Frick Art Reference Library, New 
ton, 1880. York City. 
| Illustrated | 


C63 ) 


MRS. JOHN BARTLETT 


1769-1839 
BIGAIL WILLIAMS, daughter of Stephen Theoda» Perrin) Wil- 


liams of Roxbury, Massachusetts, and a younger sister of Mrs. 
Aaron Davis (q.v.). In 1789 she married Doctor John Bartlett (q.v.). 


Boston, c.1814. Panel, 2834x23% inches. She is shown half-length, turned 
half-way to the left, seated in a gold frame armchair upholstered in old rose. Her 
light brown hair is worn in tight curls over her head and temples; her brown eyes 
are directed to the spectator. Her dress is of black velvet with a square décolleté 
and short puffed sleeves, the neck is filled in with white lace. Over her right shoul- 
der, completely concealing her right arm and coming around at the back on to her 
left arm, isa red shawl. At the right in the background is a wall or panel in olive 


3/7, 7 


MRS. JOHN BARTLETT 


tones; at the left a crimson curtain is draped back, showing a glimpse of blue sky 
and clouds. 

This portrait is owned by Miss Theoda Foster Bush of Boston. Its history is the 
same as that of the Stuart portrait of Doctor John Bartlett. 


ExHIBITED— tion of Portraits of Women,” 1895. 
At Museum of Fine Arts, Boston, 1880. Courtesy, Frick Art Reference Library, New 
At Copley Hall, Boston, at “Loan Collec- York City. 

[ Zllustrated | 


C64) 


MARIA BARTLETT 
1796-1873 
HE second of the three daughters of Thomas Bartlett (q.v.) of 
Boston, by his first wife Alice (Fitzpatrick) Wyer of Halifax, Nova 
Scotia, widow of Edward Wyer, surgeon in the British Navy. She mar- 
ried in 1816 Joseph Hall, Junior (1789-1844) of Springfield, Massa- 
chusetts. 


Roxbury, 1814. Panel, 2078x16% inches. This portrait, which was unfor- 
tunately cut down, about 1865, to its present dimensions to correspond in size with 
a portrait by Chester Harding of her husband, represents her seated, half-way to 
the right, nearly full-face. Her auburn hair is curled on her forehead and her blue 
eyes are directed at the spectator. She wears a short-sleeved white dress, with the 
square neck cut low and trimmed with white ruching. Portions of a scarlet shawl 
appear. The background is composed of a column, a brownish-gold curtain, and a 
bit of blue sky. 

Inherited by her daughter, Ann Hall, wife of John Parker of Boston, it passed 
to her daughter, Ann Hall Parker of Boston, who bequeathed it to her uncle, 
Thomas Bartlett Hall (1824-1903) of Brookline, Massachusetts, who very 
shortly gave it to his sister, Caroline Bartlett Hall (1825-1916), wife of Henry 
Lawrence Eustis of Brookline, who bequeathed it to her son, George Dexter 
Eustis, Esq., of Vineyard Haven, Massachusetts. 


ExHIBITED— 

(As “Mrs. Joseph Hall, Jr.”) at the exhi- men,” at Copley Hall, Boston, March 
bition of Stuart’s portraits, Boston, 1828, II—31, 1895; lent by Caroline B. Eustis. 
No. 81. At the Town Hall, Brookline, Massachu- 

At “Loan Collection of Portraits of Wo- setts, April, 1897. 


[ Illustrated | 


138 


C65 ) 


THOMAS BARTLETT, M.D. 
1767-1856 


HOMAS BARTLETT, son of John and Tabitha (Kidder) 

Bartlett of Boston, was in early life an apothecary with a shop on 
Washington Street, near State Street, Boston, under the sign of “The 
Good Samaritan.” He retired from business early in life, and afterwards 
lived in Somerset Street, and still later at 132 Tremont Street, where he 
died. He married, first, in 1794, Mrs. Edward Wyer (Alice Fitzpatrick 
of Halifax, Nova Scotia), who died in 1800, and he married, secondly, 
in 1802, Mrs. James Wilson (Hannah Gray) (q.v.). He was a man of 
commanding presence, six feet in height, and a benevolent, upright, and 
greatly respected citizen. When he was in Paris he attended a review of 
the French troops, and Napoleon, noticing him among the crowd of 
spectators, asked who he was, and was much impressed when told that 
he was an American. 

Boston, c. 1805. Panel (s), 2832x23% inches. He is shown seated, three- 
quarters right, his gray eyes directed to the spectator. He wears a black coat; white 
stock and collar and frilled shirt front; his white hair, which became that color 
when he was thirty years of age, is worn in a queue, the queue-bow showing. In 
the background is a column and a dark red curtain. 

His portrait was inherited by his daughter, Maria Bartlett (1796-1873), wife 
of Joseph Hall, Jr. (1789-1844), and at her death by her son, Thomas Bartlett 


Hall (1824—1903) of Longwood, Brookline, Massachusetts, from whom it passed 
to his daughter, Miss Minna Bartlett Hall of Longwood. 


EXHIBITED— At the Boston Athenzum in 1857, by Mrs. 
At the exhibition of Stuart’s portraits, Bos- Joseph Hall. 
ton, 1828, No. 21. At Copley Hall, Boston, in 1896. 
[ Zllustrated | 


139 


‘C 66 )- 


MRS. THOMAS BARTLETT 
1774-1808 


Hes: GRAY, daughter of Ellis and Sarah (Dolbeare) Gray 
of Boston, and a sister of Mrs. Samuel Cary (q.v.). She married 
first, as his second wife, in Boston in 1793, Honorable James Wilson of 
Philadelphia, a prominent lawyer, member of Congress from Pennsyl- 
vania, Justice of the Supreme Court of the United States, and a signer of 
the Declaration of Independence. He died in 1798 and in 1802 his 
widow became the second wife of Thomas Bartlett (q.v.) of Boston. 
Doctor and Mrs. Bartlett sailed for England about 1806, and Mrs. 
Bartlett died in London in March, 1808. 


Boston, c. 1805. Panel (s), 2758 x 23% inches. Her portrait represents her as 
a very attractive woman, seated, three-quarters left, her dark blue eyes directed to 
the spectator, ina chair upholstered in red. She wears a simple high-waisted white 
muslin dress, cut low, with short sleeves. A golden yellow shaw] is thrown over her 
right shoulder. Her auburn hair is in curls on her forehead, and on her head is a 
turban of white lace, behind which appears a large column which fills two-thirds 
of the background, and around this is draped a mauve curtain with short gold 
fringe. In the distance is a cool blue sky. 

At Mrs. Bartlett’s death the portrait became the property of her husband, and 
from then on its history is identical with that of the companion picture of Doctor 
Thomas Bartlett. It is now owned by Miss Minna Bartlett Hall of Longwood, 
Brookline, Massachusetts. 


EXxHIBITED— At the Boston Athenzum, in 1857, by Mrs. 
At the exhibition of Stuart’s portraits, Bos- Joseph Hall. 
ton, 1828, No. 22. At Copley Hall, Boston, in 1896. 
[ Illustrated | 


140 


BuO) 


MRS. EBENEZER BATTELLE 


GES FN teh 


NNA, daughter of Thomas and Ann (Hunt) Durant of Boston 
and.St. Croix, West Indies, and a cousin of Mrs. Andrew Ritchie 
(q.v.). She married in 1775 Colonel Ebenezer Battelle (1754-1818) of 
Dedham, Massachusetts, and in 1781 they moved to Boston, where the 
remainder of Mrs. Battelle’s life was spent. Her husband became one of 
the first settlers of Ohio, removing in 1788 to Marietta and later to New- 
port, Ohio, where he died. Mrs. Battelle late in 1814 in the hope that the 
sea-trip would restore her failing health, went to St. Croix to visit her 
sons, but she died on the return voyage in the following spring, and was 
buried at sea. 


Boston, 1810. Panel, 315x25% inches. She is shown life-size, half-length, 
seated, and turned three-quarters left, in an armchair upholstered in red, with her 
hazel eyes to the spectator. She wears a house dress of steel-colored silk with a 
green tinge, with long sleeves which have a scolloped edge at the wrist, and a scol- 
loped cuff about the upper arm. It is cut low with a high waist, and filled in with 
white lace, and on her breast is fastened a small topaz pin. About her neck is a wide 
double ruffle of white lace, and on her head is a large mob cap of white muslin 
trimmed with white lace which conceals her hair except for a few brown ringlets. 
Her arms rest upon the upholstered arms of the chair, and in her hands she holds 
open the letter addressed ““Mrs. Anna Battelle, Boston,” from her son in the West 
Indies, authorizing the painting of the portrait. Her coloring is brilliant and her 
pleasant face expresses contentment. The background is plain and dark. 

The portrait was ordered and paid for by Mrs. Battelle’s son Cornelius, living in 
St. Croix, and was painted at the home of Mrs. Battelle’s daughter Nancy, Mrs. 
Michael Smith (1783-1863), in Boston, with whom Mrs. Battelle lived. At Mrs. 
Battelle’s death it was inherited by Mrs. Smith, and at her death it passed to her 
daughter, Louisa Smith (1806-1886) of Boston, and then to her sister, Elizabeth 
Smith (1808-1891 ), wife of James Tolman of Boston. When Mrs. Tolman died 
the portrait became the property of her daughter, Miss Harriet Smith Tolman 


I41 


MRS. EBENEZER BA‘TTELLE 


(1846-1922) of Boston, who bequeathed it to the Museum of Fine Arts, Boston. 
Until 1918, the portrait had never been exhibited, and had never been out of 
Boston, and in that year it was placed on loan at the Museum of Fine Arts, Boston. 


ENGRAVED, on steel, by Charles B. Hall; Esq., of West Newton, Massachusetts. 
oval within a rectangle, 434 x 343 inches. Two small copies, made about 1860 by a 
Not listed in Mason. Miss Simpson, are owned by descendants 
A copy, made about 1830, is owned by a living in Ohio, from one of which the en- 
great-grandson, James Pike Tolman, graving by Hall was made. 
[ Zllustrated | 


‘C68 ): 


MRS. NICHOLAS BAYARD 
INieaears BAYARD lived on a farm about a mile from the 


compact part of New York. His wife was, according to Mason, a 
handsome woman and “probably Stuart’s sitter.” 


C69 ) 


WILLIAM BAYARD 


1759-1827 

SON of Colonel William Bayard of Castle Point, New Jersey, and 
New York City, who was one of the loyalists mentioned by name 

in the Act of Attainder of 1784; he and his entire family, excepting 
young William Bayard, thereupon left New York and never returned. 
All the family property was confiscated. In 1782 William Bayard mar- 
ried Elizabeth, daughter of Samuel Cornell of New York, who had gone 
to Newberne, North Carolina. At the outbreak of the Revolution Mr. 
Cornell was obliged to leave North Carolina and come under English 
protection to New York. William Bayard formed a partnership with 


142 


WILLIAM BAYARD 


Herman LeRoy, who married another daughter of Samuel Cornell, and 
started the business house of LeRoy, Bayard & Company, which was for 
many years one of the best known concerns of New York City. 


New York, c. 1794. Canvas, 36x 28 inches. He is shown seated, three-quarters 
to the left, with his blue eyes to the spectator, at a table covered with a crimson 
cloth. On the table, sketched in with a few strokes of the brush, is an inkstand into 
which a quill pen is thrust. Both of his hands rest on the table, the right hand hold- 
ing an open letter and resting on the left. (It is interesting to note that the hands, 
exquisitely painted, are in the same position as the hands of General Gates holding 
the hilt of his sword, in his portrait by Gilbert Stuart.) He wears an apple-green 
coat with a high double collar, a double-breasted waistcoat of cream silk damask, 
a white neckcloth and shirt ruffle of very fine linen edged with lawn; ruffles are 
also seen at the wrists where the last two buttons of the coat sleeve are unbuttoned. 
His hair, slightly parted in the middle, is powdered and tied in a queue bow. In the 
background is a draped crimson curtain, folded back at the left. 

The portrait was inherited by his daughter, Mrs. Duncan P. Campbell, and at 
her death became the property of her children, who by successive wills left it to 
Maria L. Campbell, the youngest and only surviving child. In 1912 the portrait 
was inherited by the present owner, Howard Townsend, Esq., of New York City, 
great-grandson of the subject. 


Exuisirep at Metropolitan Museum of Art, New York City, in 1924 and 1925. 
Not listed in Mason. 
[ Zllustrated | 


( 70 )s 
DOCTOR RICHARD BAYLEY 


1745-1801 


ORN in Fairfield, Connecticut. He studied medicine in London 
B and settled in New York in 1772. Visited London in 1775 and 
returned in 1776 to New York as surgeon in British army under Sir 
William Howe. From 1777 to his death practised medicine in New 


143 


DOCTOR RICHARD BAYLEY 


York and gave lectures on surgery. Appointed first professor of anatomy 
in 1792 at Columbia College, and in 1793 was made professor of surgery. 
He published “A View of the Croup,” “Letters from the Health Office,” 
“Angina Tracheatis,” and in 1796, in a treatise on yellow fever, he 
proved its local origin, repudiating the theory of contagion. 

I have been unable to find the original portrait. 

A copy, 212x 18 inches, by J. H. Lazarus, was presented by Doctor Bayley’s 


grandson, Right Reverend J. Roosevelt Bayley, to the New York Historical 
Society, July 4, 1864. 


Not listed in Mason. 
( 71 )s 
MISS CLEMENTINA BEACH 


1774-1855 


HE was a daughter of William and Hannah (Prothero) Beach of 

Bristol, England. She came to America with her parents near the 
end of the eighteenth century and settled in Gloucester, Massachusetts. 
About 1800, in company with Miss Judith Foster, Miss Beach opened, 
in Dorchester, Massachusetts, a select boarding-school for young ladies, 
which soon became popular, and was continued until about 1840. 
During the last years of her life Miss Beach lived at Hingham, Massa- 
chusetts, and died there. One of her pupils, many years later, spoke of 
her as a woman of much beauty and dignity, very gifted, and of great 
executive ability. She studied painting under Stuart and in addition to 
painting portraits of several of her pupils, copied her own portrait by 
Stuart. This copy was destroyed in 1889. 


Boston, c. 1824. Panel (s), 26x21 inches. Miss Beach is represented, bust size, 
as a woman of about fifty years of age, turned three-quarters left, with her large 


144 


MISS CLEMENTINA BEACH 


gray-blue eyes directed to the spectator. She is dressed in a white satin Empire 
gown, cut low, with full sleeves, with a yoke of diaphanous material outlined with 
lace insertion about one-half inch wide. A folded belt of white satin confines the 
high waist and is finished in front with a white satin bow. The collar is formed of 
three falls of white lace about the throat, and over her right shoulder hangs the end 
of a cashmere shawlor scarf. The hair, of medium brown tinged with reddish-gold, 
is curled on her forehead and temples, parted slightly to the left side, brought low 
on the forehead, and drawn high on the right side of the temples and over her left 
ear with small pearl combs. Her back hair is curled and drawn high on the head, 
where it forms a shower of curls. Her complexion is fair and rosy. The background 
is plain and of olive tones. 

Her portrait, passing through the ownership of various family connections, suc- 
cessively in Hingham, Gloucester, Nebraska City, Nebraska, Lenni Mills, Penn- 
sylvania, and Fort Worth, Texas, was sold in December, 1909, to its present owner, 
the Fort Worth Art Association, Fort Worth, Texas, where it forms a part of the 
permanent art collection, and hangs in the museum in the Carnegie Public Library 
Building. 

ReEpropucep, in half-tone, in “American Pictures and their Painters,” by Lorinda M. 
Bryant, 1920, facing page 32. 


[ Zllustrated | 


( Wet »)s 
STEPHEN BEAN 
A LAWYER of Boston. In 1808 he married Susan Hubbart. 


Boston, c. 1810. Bust, three-quarters to the left, with his eyes to the spectator. 
He wears a high-collared coat, a white standing collar, neckcloth and ruffled shirt. 
His hair is rather disheveled. The plain background is dark. 

Owned by his great-grandnephew, F. W. Buck, Esq., of Aurora, Colorado. 

This is probably the portrait referred to on page 136 of Mason, under “ 
Bean.” 





145 


Or oe: 


DEAN BEATSON 
RRONEOUWSLY called “Butson” by Mason. 


Painted in Ireland. 


Gite: 


EARL OF BECTIVE 
1724-1795 

HOMAS TAYLOUR, son of Sir Thomas, first Baronet, and his 

wife Anne Cotton. He married in 1754 Jane, daughter of the 
Right Honorable Hercules Langtord Rowley. (Their daughter, Lady 
Henrietta Taylour, married in 1791 Chambré Brabazon Ponsonby 
(q.v.)). Created Baron Headfort in the peerage of Ireland in 1760; in 
1762 Viscount Headfort; and in 1766 advanced to an Earldom, as Earl 
of Bective. He was succeeded by his eldest son, Thomas, who in 1800 
was created Marqués of Headfort. 


Owned by T. B. Ponsonby, Esq., Kilcooley Abbey, County Tipperary, Ireland. 
Not listed in Mason. Listed in Strickland as by Stuart. 


7 


JUDGE EGBERT BENSON 
1746-1833 
ORN in New York City. Graduated from Kings (Columbia) Col- 
lege in 1765 and rapidly gained distinction as a lawyer. Was a 


member of the revolutionary committee of safety and in 1777 became 


146 


attorney-general of the state, being the first to hold the office, and served 
until 1789. In 1777, also, he became a member of the first state legis- 
lature. Was a member of the Continental Congress, 1784-88, 1789-93, 
and 1813-15. From 1794 to 1802 he was judge of the State Supreme 
Court, and in 1802 was appointed judge of the United States Circuit 
Court. He was a regent of the University of New York from 1789 to 
1802, and from 1817 to 1820 was the first president of the New York 
Historical Society. In 1808 Harvard University conferred upon him the 
degree of LL.D., and in 1811 he received the same degree from Dart- 
mouth College. 


New York, c. 1794. Canvas, 3032x251 inches. Bust portrait, turned three- 
quarters to the left, with his gray eyes directed toward the spectator. His hair is 
powdered and he wears a high-collared black coat, a white neckcloth and finely 
pleated ruffled shirt. Plain background of dark red. 

The portrait was in the possession of the Honorable John Jay (q.v.), who left it 
to his second son, William Jay (1789-1858), from whom it passed to his son, 
John Jay (1817-1894), who in turn left it to his son, Colonel William Jay (1841— 
1915), who bequeathed it to his daughter, Mrs. Arthur Iselin, of Bedford House, 


Katonah, New York. 

ExuHIBITED— At a Loan Exhibition at the American Art 

At the Loan Exhibition of Historical Por- Galleries, New York City, 1903, loaned 
traits held in New York during the Cen- by Colonel William Jay. 
tennial Celebration of the Inauguration ReEpropucepD in Bowen’s “Centennial of 
of Washington, 1889, No. 65, loaned by Washington’s Inauguration,” 1892, fac- 
John Jay. ing page 123. 


[ Illustrated | 


(76 ): 
JUDGE EGBERT BENSON 
1746-1833 


Boston, c. 1805. Panel (s), 28}2x24% inches. Judge Benson is seated three- 
quarters left, in an armchair upholstered in dark red, and with his light blue eyes 
directed to the spectator. His complexion is florid, and his hair white. He wears a 


147 


JUDGE EGBERT BENSON 


high-collared black coat and black waistcoat, white cravat and ruffled shirt frill. 
His left arm rests upon the arm of his chair, and his left hand, partly closed, lies 
on his lap. His right hand is not shown. The background is plain and of brownish- 
gray tones. 

His portrait was presented to the New York Historical Society, of which Judge 
Benson was the first president, by Robert Benson, Jr. - 


ENGRAVED by Chas. Burt, on steel, vignette, Inauguration,” 1892, facing page 123. 
1869. In half-tone, in The New York Historical 

EtcHen by H. B. Hall, 1872. Society Quarterly Bulletin, October, 1919, 

REPRODUCED— Vol. III, No. 3, page 98. 

In photogravure, in Mason’s “Life and In half-tone, in “Early American Painters,” 
Works of Gilbert Stuart,” 1879, facing by John Hill Morgan, 1921, page 31. 
page 25. A copy, by John Wesley Jarvis, is owned by 

In Bowen’s “Centennial of Washington’s the New York Historical Society. 

[ Illustrated | 


ee 


RIGHT HONORABLE JOHN BERESFORD 
1738-1805 


HE second son of Marcus, first Earl of Tyrone, and Lady Cathe- 

rine Baroness de la Poer. He was educated at Kilkenny and at 
Trinity College, Dublin, from where he was graduated in 1757, and 
called to the bar in 1790. In 1760 he married Constantia Ligondes of 
Auvergne, and in the same year, on the death of George II, he was 
elected to the Irish Parliament for Waterford. In 1768 he was appointed 
Privy Councillor and two years later one of the Commissioners of 
Revenue. His first wife having died in 1772, he married in 1774 
Barbara Montgomery, daughter of Sir William Montgomery, one of the 
three beautiful sisters painted by Sir Joshua Reynolds in his celebrated 
picture, “The Graces Decorating Hymen,” bequeathed to the London 


148 


RIGHT HONORABLE JOHN BERESFORD 


National Gallery in 1837. Mrs. Berestord (d. 1788) was also painted by 
Romney. In 1780 Beresford became First Commissioner of Revenue 
and succeeded in obtaining an immense influence in Irish politics; he 
was ina sense “the power behind the throne.” The Lord Lieutenant for 
the time being was the de facto ruler of Ireland, but Beresford’s was the 
brain that planned improvements and watched that they were carried 
out. He enjoyed the confidence of William Pitt, Prime Minister of 
England, and in 1786 was appointed Privy Councillor of England. 
Beresford was one of the leading advocates for the union of the two 
countries in parliamentary matters. His “Correspondence,” which was 
almost exclusively political, was published in 1854. 

Dublin, c. 1790. Canvas, 30x25 inches. He is shown three-quarters right, with 
his gray-blue eyes directed to the spectator, seated in an armchair upholstered in 
brown figured cloth with brass-headed nails. His right hand, holding an open 
letter, is resting on a brown table on which may be seen a leather-bound book. He 
wears a snuff-colored coat with brass buttons, a yellowish-buff waistcoat with 
small brass buttons, and a white neckcloth. His wig is curly and light brown. The 
background is of plain warm brown tones. 

The portrait was inherited by his brother, the Honorable and Reverend William 
Beresford (1743-1819), Archbishop of Tram, created in 1812 Baron Decies, and 


sold by his descendant, John Graham Hope Horsley-Beresford, fifth Baron Decies, 
in 1920, to Messrs. Lewis & Simmons, New York City. 


ENGRAVED— and with table and hand omitted), pub- 

In mezzotint, reversed, by Charles H. lished March 25, 1796, 1134 x9 inches. 
Hodges, 1790, 13 x 1034 inches. Three REPRODUCED, in half-tone, in Art News, 
states. New York, November 20, 1920. 


In line, by William Sharp (most likely after Not listed in Mason. 
Hodges’s mezzotint, but facing to right Listed in Strickland, after the engraving by 
Hodges. 


[ Illustrated | 


149 


O73): 


DOCTOR GEORGE BETHUNE 
Born 1769 


A SON of George and Mary (Faneuil) Bethune of Boston and a 
brother of Mrs. William Hunt (q.v.). In 1810 he married Mary 
Amory (q.V.). 


Boston, c. 1820. Panel, 27x 219% inches. Bust portrait, turned half-way to the 
right. His brown hair, a little gray on the temples and sidewhiskers, is curly, and a 
smile seems to hover on his genial face and in his brown eyes, which are directed 
to the spectator. He wears a dark blue coat, a white waistcoat and neckcloth. The 
back of his chair is seen by his left shoulder and the plain background is of neutral 
gray tones. 

In the ’80s, at a family sale of the effects of his son, Doctor George Amory 
Bethune (1812-1886), the portrait was purchased by Doctor Faneuil D. Weisse 
of New York City, who bequeathed it to his son, the present owner, Doctor 
Faneuil S. Weisse, of New York City. 


EXHIBITED— 
At the exhibition of Stuart’s portraits, Bos- At the Museum of Art, Brooklyn, New 
ton, 1828, No. 176. York, from 1919 to the present date. 


[Zllustrated | 


ACAD: 


MRS. GEORGE BETHUNE 


1773-1844 
ARY AMORY, daughter of John and Catherine (Greene) 


Amory of Boston and a sister of Mrs. John McLean (q.v.). In 
1810 she married George Bethune (q.v.). 


Boston, 1819. Panel, 2748x2134 inches. Half-length, seated three-quarters 
to the left with her gray eyes directed to the spectator. Her dark brown hair is 


150 


MRS. GEORGE BETHUNE 


dressed on top of her head with soft curls on her temples and in front of her ears. 
She wears a black velvet dress with a triple bertha of white lace at the V-shaped 
neck. A red shawl with a wide colored border is draped around her shoulders, com- 
pletely concealing her arms. The plain background at the left is a light greenish- 
gray, shaded to a much darker tone at the right. 

The portrait is owned by Mrs. Arthur Lyman, of Boston. 


ExuIBITED— At “Loan Collection of Portraits of Fair 
At the exhibition of Stuart’s portraits, Bos- Women,” at Copley Hall, Boston, March 
ton, 1828, No. 177. TI—31, 1895. 
[ Illustrated | 


-( 80 ): 


ANNE LOUISA BINGHAM 
1782-1848 


HE older daughter of William Bingham (q.v.) and Anne (Wil- 
ling) Bingham (q.v.). She married, in 1798, Alexander Baring 
(1774-1848), who in 1835 was created Baron Ashburton. 


London, 1784. Canvas, 1734 x18 inches. This is the third section of the large 
canvas of the Bingham family, that was cut into three parts. (For fuller descrip- 
tion see “Mrs. William Bingham and her daughter Maria Matilda”.) Mason, 
page 138, gives the following description: “She was standing in the foreground 
with uncovered neck, over which her hair was flowing, and had on a broad- 
brimmed hat. As she pulled at her mother’s dress, and looked for a recognition, 
she plainly showed that she was jealous of the attention bestowed on the baby.” 

In the possession of Alexander Grant, Esq., of Rome, Italy, who inherited it 
from his mother, Mary Clymer, a granddaughter of Mrs. Henry Clymer (q.v.), 
who was a sister of Mrs. William Bingham. 


[ [llustrated | 


151 


-( 8x >: 


WILLIAM BINGHAM 


1751-1804 

A SON of William and Mary (Stamper) Bingham of Philadelphia. He 
was graduated from the University of Pennsylvania in 1768. In 
1770 he was appointed British Consul at St. Pierre, Martinique, and 
at the outbreak of the Revolutionary War was made agent of the Con- 
tinental Congress at Martinique, until 1780, when he returned to 
Philadelphia. In that same year he married Anne Willing (q.v.) of 
Philadelphia. He was elected a member of the American Philosophical 
Society in 1787 and of the Continental Congress in 1787-88. In 1790 
he was a member of the Pennsylvania House of Representatives and 
Speaker in 1791. Elected to the U. S. Senate in 1795, and for a time 

President of that body. He died at Bath, England. 

London, 1784. Canvas, 17x17 inches. This is a section of the family portrait 
of Mr.and Mrs. Bingham and two of their little daughters. (For fuller description 
of group portrait, see “Mrs. William Bingham and her daughter Maria Matilda”). 

Head and shoulders turned three-quarters to the right. He wears a scarlet hunt- 
ing coat and white neckcloth, and his powdered hair is tied in a bow. His genial 
face, with its smiling dark eyes, is ruddy. 

In the possession of the Marquise de Bryas, 37 Avenue Montaigne, Paris, a 


grandniece of Mrs. Bingham. 
[Illustrated | 


-( 82 ): 


WILLIAM BINGHAM 


1751-1804 
Philadelphia, c. 1795. Canvas, 30x25 inches. A half-length portrait, with the 
body turned slightly to the left, while the head is three-quarters to the right. He 
wears a scarlet hunting coat with horn buttons and a velvet collar; a double- 


152 


WILLIAM BINGHAM 


breasted damask waistcoat with buttons of the same material; a white neckcloth, 
bow tie and ruffle. Ruffles are also seen at the wrists. His hair is powdered. He is 
leaning on his elbows with his two hands clasped, holding a hunting crop in his left 
hand. The background is plain. 

This portrait belonged to William Bingham’s sister, who married, as his second 
wife, the Reverend Doctor Blackwell. It later came into the possession of Thomas 
Balch, who bequeathed it to his sons, Messrs. Thomas Willing Balch and Edwin 
Swift Balch of Philadelphia, the present owners. 


EXHIBITED at the Centennial Loan Exhibition, Philadelphia, 1875, by Mrs. Thomas Balch. 
EncraveEp by A. H. Ritchie. 


[ Illustrated | 


C83) 


MRS. WILLIAM BINGHAM 
1764-1801 


NNE WILLING, daughter of Thomas (q.v.) and Ann (McCall) 
Willing of Philadelphia. In 1870 she married William Bingham 

(q.v.) of Philadelphia. It is evident that this young woman, who drew 
around her the best and brightest men of her day, possessed a charm 
beyond and above her great beauty. Washington, that wonderfully 
accurate reader of character, admired her, and John Jay, who was so 
happy in his own matrimonial choice, wrote to Mr. Bingham at the time 
of his marriage: “It gave me very sensible satisfaction to hear that you 
had made so judicious a choice.” Thomas Jefferson, who first met her in 
Paris, was a warm admirer of the Philadelphia beauty, with whom he 
afterwards corresponded. Mrs. Bingham had a full-length portrait of 
Washington painted by Stuart for the Marquess of Landsdowne. In a 
graceful letter in which the English nobleman acknowledges the receipt 
of the portrait, he says that he considers the gift “a very magnificent 


153 


compliment,” whose value is enhanced by the respect he feels for Mr. 
and Mrs. Bingham. Her sisters, Mrs. William Jackson, Mrs. Henry 
Clymer, Mrs. Thomas Willing Francis and Mrs. Richard Peters, were 
also painted by Stuart. 


London, 1784. Canvas, 19x15 inches. This is an unfinished portrait, probably 
a sketch for her head in the large and also unfinished family group of the Bing- 
hams. She is turned three-quarters to the left, with her brown eyes looking down 
toward the left of the spectator. The hair is only sketched in. 

The portrait was owned in 1855 by Joshua Francis Fisher of Philadelphia, a 
great grandson of the subject, and is now owned by his son, George Harrison 
Fisher, Esq., of Philadelphia. 


EXHIBITED at Loan Exhibition of Historical ENGRAVED, reversed, with body added and 
Portraits, December 1, 1887, to January with additions to foreground and back- 
15, 1888, held at the Pennsylvania Acad- ground, for Griswold’s ‘Republican 
emy of the Fine Arts, Philadelphia. Court,” 1855, facing page 253. 

[ Zllustrated | 


C 84 ): 


MRS. WILLIAM BINGHAM 
1764-1801 


AND HER DAUGHTER MARIA MATILDA 
ig.d Sisto 
RS. BINGHAM’S second daughter Maria Matilda was about ten 
months old when Stuart painted this portrait. While very young 
she eloped and married James Alexandre, Comte de Tilly, from whom 
she was soon divorced. She married, second, in 1802, Henry Baring 
(1777-1848), brother of her sister’s husband, by whom she had five 
children. She was also divorced from him and married, as a third hus- 


band, the Marquis du Blaisel. 


London, 1784. Canvas, 36x 36 inches. This portrait of Mrs. Bingham and 
Maria Matilda was originally part of a group picture which included four figures: 


154 


Mrs. Bingham, the central figure, standing by a horse on which she held her baby 
daughter Maria Matilda while looking at the older daughter, Anne Louise, stand- 
ing at the left (the figure of the horse being simply blocked in with a few lines and 
unrecognizable), and the figure of Mr. Bingham in the foreground, holding the 
horse’s bridle. The group was never finished owing, it is said, to Stuart taking 
offense at some directions Mrs. Bingham wished him to follow in the arrangement 
of the picture. It was brought over to America, but was little cared for, and Mrs. 
Bingham gave it to her brother-in-law, Henry Clymer, who finally consulted Sully, 
who advised cutting away some of the canvas and dividing it into three pictures. 
This was done under Sully’s supervision. 

This section shows Mrs. Bingham standing at the left apparently holding up her 
baby, who is seen at the extreme right of the picture sitting on the horse, with a 
trunk of a tree at her back. Mrs. Bingham is turned away from her little daughter 
looking towards the left, her profile being seen. The heads of the two figures are 
the only parts that seem at all finished, and they are exquisitely painted. The 
graceful figure and the delicate beauty of the mother with her dark auburn hair 
hanging down in long curls onto her left shoulder, her flowing white dress gathered 
in at the waist, and the baby, also in white, with a tight-fitting bonnet and bib, 
looking rather forlorn and gazing appealingly at her mother, make a very charm- 
ing picture, despite the drab unfinished background. 

In the possession of the Marquise de Bryas, 37 Avenue Montaigne, Paris, a 
grandniece of Mrs. Bingham. 
REPRODUCED, in half-tone, in “Salons Colonial and Republican,” by Anne H. Wharton, 

1900, facing page 140. 

[Zllustrated | 


(GS5p: 


MRS. WILLIAM BINGHAM 
1764-1801 


Philadelphia, c. 1795. Canvas, 29x 237% inches. She is seated, three-quarters 
left, in a high-backed gilt Empire armchair upholstered in red, at a table covered 
with a red cloth, on which lies a sheet of paper. Her brown eyes are directed to the 
spectator, and her curly light brown hair is worn low on her forehead, and in it are 
some small pink roses. She wears a short-sleeved black velvet gown, the sleeves 
terminating with a grayish-white lawn, caught up with a small jewelled pin, and 


155 


MRS. WILLIAM BINGHAM 


the low-cut V-shaped neck is edged with similar grayish-white lawn, arranged 
like a fichu, She wears a jewelled earring, and at her waist hangs a large oval gold 
pendant, suspended by a small gold chain which disappears in the folds of the fichu. 
The fingers of the left hand rest lightly upon an upright book, bound in brown 
leather, which stands upon her lap. On the book is a red title-label with “VOY- 
AGES EN SYRIE” stamped in gold upon it. The background is plain and dark. 

Inherited by her niece, Mrs. James A. Bayard, who bequeathed the portrait to 
her son, Thomas Francis Bayard. At his death it passed to his daughter, Mrs. S. D. 
Warren of Boston, who bequeathed it to the present owner, her daughter, Mrs. J. 
Gardner Bradley of Boston. 


Note: Mrs. Warren had the portrait taken that a wig had been added over the hair 
to the Boston Museum of Fine Arts to be painted by Stuart. This wig was removed. 
cleaned, at which time it was discovered 


‘C 86 ) 


HONORABLE HORACE BINNEY 
1780-1875 
A SON of Dr. Barnabas and Mary (Woodrow) Binney of Philadel- 
phia. He was graduated from Harvard College in 1797, admitted 
to the Philadelphia bar in 1800 and became one of the most prominent 
lawyers of the country. He obtained his LL.D., Harvard, in 1827. He 
was a member of the American Philosophical Society; of the Massachu- 
setts Historical Society, and a Fellow of the American Academy. 


Philadelphia, 1800. Panel, 28x24 inches. He is shown three-quarters to the 
left, with his blue eyes directed to the spectator, seated on an upholstered chair, 
holding a large leather-bound volume, with the index finger of his right hand 
thrust among its leaves. His complexion is fresh and his hair light brown. He 
wears a maroon-colored coat with a white neckcloth and lace ruffle. The back- 
ground is of neutral gray tones. It is said of this portrait that a friend of Mr. 
Binney’s criticized the painting, pointing out that the buttons were on the wrong 
side of the coat. With some hesitancy Mr. Binney mentioned it to Stuart. “Is that 


156 


HONORABLE HORACE BINNEY 


so? Well, thank God I am no tailor.” Taking up his pencil, with a sudden stroke he 
drew the lapel to the collar of the coat. “Now,” said he, “‘it is a double-breasted 
coat, and all is right—only the buttons on the other side not being seen.” 

The portrait was inherited by his daughter, Susan Binney of Philadelphia. She 
bequeathed it to her nephew, the Reverend John Binney, son of her eldest brother, 
who left it to his son, Doctor Horace Binney of Boston, the present owner. 


REPRODUCED, in photogravure, in Mason’s “Life and Works of Gilbert Stuart,” 1879, fac- 


ing page 51. 
ae [ Illustrated | 


Seay 
MARY BINNEY 
1786-1824 


ARY BINNEY was a daughter of Doctor Barnabas and Mary 

(Woodrow) Binney of Philadelphia, and sister of Horace Bin- 
ney (q.v.). In 1816 she married Lucius Manlius Sargent (1786-1867) 
of Boston. 


Washington, c. 1805. Panel, 2838x2234 inches. Half-length, turned three- 
quarters to the right, with her eyes directed to the spectator. Her smooth hair is 
very plainly dressed with curls on her forehead. She wears a square-cut, light silk 
dress edged with a narrow tulle ruffle. A dark shawl with a colored border is 
draped over her left shoulder and around her right arm. The background is plain. 

This portrait was inherited by her sister, Susan Binney (died 1849), wife of 
John William Wallace of Philadelphia, who gave it as a great treasure to her 
nephew, Horace Binney Sargent (1821-1908) of Salem, Massachusetts, and 
Santa Barbara, California, a son of the subject. From him it passed to his widow, 
and at her death to their daughter, Elizabeth Hazard Sargent (18 50-1920), wife 
of Lieutenant-Commander Bowman Hendry McCalla (1844-1910) of Wash- 
ington, District of Columbia. The portrait is now owned by her daughter, Mrs. 
Elizabeth Sargent Miller. 


ExHIBITED at Copley Hall, Boston, March 11-31, 1895, at “Loan Collection of Portraits 


of Women.” 
[ Zllustrated | 


137 


‘C88 ): 


MRS. SAMUEL BLODGET 


1772-1837 
Rea daughter of the Reverend William and Rebecca 
(Moore) Smith of Philadelphia. It is said that she was one of the 
most admired beauties that ever adorned the drawing rooms of Phila- 
delphia and as much distinguished by sprightliness and wit as by per- 
sonal comeliness. In 1792 she married Samuel Blodget, Junior (1755- 
1814) of Woburn, Massachusetts, Washington, District of Columbia, 
and afterwards Philadelphia, Pennsylvania. 

Philadelphia, c. 1798.* Canvas, 28 x 22 inches. This unfinished picture, with 
almost no color, shows her, bust, three-quarters left, her eyes directed to the spec- 
tator. She wears a cap tinged with burnt sienna and a touch of white, and tied 
underneath her chin, with her light golden brown hair showing at her ears. Her 
bust is merely indicated by a background and appears to be the bare canvas, aged. 
The background is made up of umber with a touch of blue. | 

This portrait was owned in 1879 by Henry C. Carey of Philadelphia, who be- 


queathed it to the Pennsylvania Academy of the Fine Arts, Philadelphia, having 
inherited it from his brother, Edward L. Carey. 


ExHIBITED— (Oval, within a rectangle), by John Sartain 


During the Centennial Exposition, at the in 1880, for “Life and Correspondence 
Pennsylvania Academy of the Fine Arts, of the Rev. William Smith, D.D.,” by 
Philadelphia, in 1876. Horace Wemyss Smith. This engraving 

At the “Loan Exhibition of Historical Por- also in the Pennsylvania Magazine of His- 
traits,” at the Pennsylvania Academy of tory and Biography, 1880, Vol. IV, page 
the Fine Arts, Philadelphia, from Decem- 382. 
ber 1, 1887, to January 15, 1888. REPRODUCED, in half-tone, in E. T. Sales’ 

ENGRAVED, in vignette, by John Cheney: “Old Time Belles and Cavaliers,” 1912, 

1. The Gift—1 845, on engraved title-page. facing page 216. 

2. The Gift—1 845, on engraved title-page * I have dated this picture c. 1798 because I 
with “G. Stuart—J. Cheney” added. think it much more likely to have been 

3. Griswold’s “The Female Poets of Amer- painted in Philadelphia rather than in 1806 
ica,” 1849, on engraved title-page, “G. when Stuart was in Boston. 


Stuart—J. Cheney.” 
| Lllustrated—See frontispiece | 


158 


C89 ) 


MRS. SAMUEL BLODGET 
1772-1837 
AND DAUGHTER 


M:; BLODGET is painted with her child, Elinor Matilda (1797- 
1833) who, in 1810, at the age of thirteen, married Abel Lincoln 
of Massachusetts, and, secondly, in 1823, Richard Penn Smith (1799 - 
1854), her first cousin, a dramatist and writer. 

Philadelphia, c. 1800. Canvas, 22x20 inches. Two unfinished heads which 
have been cut out of a larger canvas. 

This portrait was presented in 18 38 to the Artist’s Fund Society of Philadelphia 
by Isaac P. Davis of Boston. Deposited by the Artists’ Fund Society of Philadel- 


phia with the Pennsylvania Academy of the Fine Arts in 1885 and returned to the 
Society in 1907. The present seat of this Society is unknown. 


ExuHisiTep at “Exhibition of Historical 15, 1888, held at the Pennsylvania Acad- 
Portraits,” December, 1887, to January emy of the Fine Arts, Philadelphia. 


( go )s 


JEROME BONAPARTE 
1784-1860 


OUNGEST and favorite brother of Napoleon I. He entered the 

Navy in 1800, and in 1803, during a visit to the United States, 
married Elizabeth Patterson (q.v.) of Baltimore, without the consent 
of his family. Napoleon declared the marriage null and recalled him. 
In 1806 he was promoted to Rear Admiral and in the same year trans- 
ferred to the Army, becoming a General of Brigade. In 1807 his Corps 
gained some successes in Silesia, and in July of that year Napoleon 


159 


JEROME BONAPARTE 


placed him on the throne of the new kingdom of Westphalia. In 1807 
he married the Princess Catherine of Wiirttemberg and reigned until 
the expulsion of the French from Germany in 1813. At Napoleon’s 
return from Elba, Jerome joined him and commanded a division at 
Waterloo. After living in exile at Trieste, Rome and Lausanne, he 
returned to Paris in 1847 and became Field Marshal in 1850. 


Washington, 1804. Canvas, 2814 x 23% inches. This unfinished bust portrait 
shows him three-quarters right, with his brown eyes directed to the spectator. He 
wears a powdered wig and white neckcloth. A gold epaulette is suggested on his 
right shoulder, and there are indications of a white ruffle and black coat. The 
background is of tones of brown with splashes of brownish-yellow in the lower 
right corner. On the back of the canvas is the inscription: “JEROME NAPO- 
LEON Frére du grand NAPOLEON: L’An 1804 G. Stuart. Pinxt.” 

This portrait, the only one Stuart painted of Jerome Bonaparte, was in the 
Bonaparte family for four generations. From Mrs. Elizabeth Patterson Bonaparte 
it passed to her son, Jerome Napoleon Bonaparte (1805-1870). He left it to his 
son, Jerome Napoleon Bonaparte (1832-1883) of Baltimore, and the latter to his 
son, Jerome Napoleon Bonaparte, who sold the picture in 1920 to Mr. August 
Franzen of New York. Early in 1925 it was sold, through M. Knoedler & Co., 
New York, to Mrs, E. H. Harriman, Arden House, Harriman, New York. 


EXHIBITED at the Maryland Historical So- Vol. 10, page 3; 1879, Vol. 18, page 388. 
ciety, Baltimore, Maryland. The same woodcut in Sale’s “Old Time 
ENGRAVED— Belles and Cavaliers,” 1912, page 264. 
On wood, for Scribner's Monthly, 1875, 
| Illustrated | 


( copie )s 
MADAME JEROME BONAPARTE 


L7S5A1970 
Beene PATTERSON, born in Baltimore, was the daughter 
of William Patterson (q.v.) and his wife Dorothy Spear. At a ball 


given at the home of Samuel Chase in the autumn of 1803 Jerome Bona- 


160 


MADAME JEROME BONAPARTE 


parte (q.v.) met and fell in love with her, but her father, foreseeing that 
the marriage would meet with the disapproval of Napoleon Bonaparte, 
at that time First Consul, sent his daughter to Virginia. Correspondence 
was carried on between the pair, however, and finally, on December 24, 
1803, all the legal formalities carefully complied with, Jerome and 
Elizabeth were married in state by Archbishop Carroll at Baltimore; 
but Napoleon remained obdurate and Jerome Bonaparte was sent for. 
The youthful pair sailed in March, 1805, only to find that Elizabeth was 
not allowed to land. She finally sought refuge in England, where her 
son, Jerome Napoleon Bonaparte, was born July 7, 1805. Jerome 
Bonaparte, the husband, was finally prevailed upon to divorce his wife. 
Elizabeth Patterson Bonaparte tried every means to maintain the legality 
of her marriage, and when Napoleon III came to the thronea formal trial 
was granted her, and the councils decreed that her son was entitled to the . 
name of Bonaparte, but could not be considered a member of the Im- 
perial family. Elizabeth Patterson Bonaparte was a woman of great 
beauty and force of character, retaining to the last her brilliant conver- 
sational powers. 


Washington, 1804. Canvas, 28x24 inches. In this very beautiful picture, 
Stuart painted the head and shoulders of Madame Jerome Bonaparte in three dif- 
ferent positions. In the center she is shown full-face, with her soft hazel eyes 
directed to the spectator. Her auburn hair is dressed in a simple manner with curls 
on her forehead and in front of her ears. Over her right shoulder a second head is 
seen peeping, bent slightly towards the left, with eyes turned to the spectator. At 
the right of the canvas a third head is seen in profile, the left side of the face with 
its charming contour turned to the spectator. The flesh tints of this painting are 
exquisite and the colors of the scumbled background range from a rich dark 
brown at the outer edge to a lighter shade towards the center where tints of lav- 
ender may be seen as it turns into a soft gray. 

This portrait, first owned by Madame Jerome Bonaparte’s father, William 
Patterson, was inherited by her and remained in her possession all her life, although 
she allowed the Maryland Historical Society of Baltimore to keep it in their rooms 


161 


MADAME JEROME BONAPARTE 


for many years. Her only child, Jerome Napoleon Bonaparte, having died in 1870, 
it passed to her eldest grandson, Jerome Napoleon Bonaparte (1830-1893), who 
left it to his daughter, Louisa Eugenie Bonaparte, who, in 1923, bequeathed it to 
her husband, the present owner, Count Adam de Moltke-Hintfeldt of Denmark 
and Paris, France. 


ENGRAVED, on wood, for Scribner’s Month- In half-tone, in E. T. Sale’s “Old Time 
ly, 1875, Vol. 10, page 1, 1879; Vol. 18, Belles and Cavaliers,” 1912, facing page 
page 385. 262. 

REPRODUCED— In half-tone, in “The Diary of James Gal- 

In photogravure, in Mason’s “The Life and latin,” edited by Count Gallatin, 1914, 
Works of Gilbert Stuart,” 1879, facing facing page 144. 
page 67. 

[ Zllustrated | 


( Q2 )s 


NATHAN BOND 
1752-1816 


SON of Abijah Bond of Concord, Massachusetts. He was gradu- 

ated from Harvard College in 1772, after which he studied for the 

ministry. His poor health, however, made it necessary for him to adopt 

a more active life and he became a merchant. In 1783 he married Joanna 
Sigourney (q.v.), the widow of Herman Doane of Boston. 

Boston, 1815. Panel, 25x21 inches. Bust, three-quarters to the left. His hair 
and his eyes are dark brown, and a hectic flush is seen on his cheek. He wears a 
black coat and a large wide neckcloth. Plain dark background. 

His portrait and that of his wife were inherited by their son, George Bond, and 
then by his son, George William Bond (1811-1892), who bequeathed them to the 
Museum of Fine Arts in Boston with the proviso that if his grandson, Alfred 


Hindekoper Bond, married they were to go to him. Alfred Hindekoper Bond of 
New York City married in 1896 and came into possession of the two portraits. 


ExuIBITED at the exhibition of Stuart’s portraits, Boston, 1828, No. 61. 


| Illustrated | 


162 


wo”: 


MRS. NATHAN BOND 
1750-1828 
i NA SIGOURNEY, a daughter of Daniel and Joanna (Tiles- 


ton) Sigourney of Boston. She married, first, Herman Doane, 
mariner, of Boston, who was lost at sea in 1778. In 1783 she married 


Nathan Bond (q.v.). 


Boston, 1815. Panel, 25x21 inches. Bust portrait, turned three-quarters to the 
right. Her eyes and hair are dark brown. She is dressed in a black dress with a 
white lace fichu and a white lace cap with a broad black ribbon. Plain dark back- 
ground, 

This portrait is owned by Alfred Hindekoper Bond, Esq., of New York City, 
its history being the same as that of Stuart’s portrait of Nathan Bond. 


ExHIBITED— 

At the exhibition of Stuart’s portraits, Bos- men” at Copley Hall, March 11 to 31, 
ton, 1828, No. 60. 1895. The date of painting given in cata- 

At “Loan Collection of Portraits of Wo- logue as 1818. 


[ Zllustrated | 


eo 


PHINEAS BOND 


1749-1815 
SON of Phineas and Williamina (Moore) Bond. He was the first 
British representative to come to this country as Consul for the 
Middle Colonies at Philadelphia. 


London, c.1775—80. Canvas, 30x25 inches. Bust portrait, turned three- 
quarters to the left, with his brown eyes directed to the spectator. He wears a black 
coat, white neckcloth, bow tie, ruffled shirt, and a powdered wig. The background 
is dark with a reddish brown tint. 

The portrait was inherited by his nephew, General Thomas Cadwalader, a son. 


163 


PHINEAS BOND 


of General John and Williamina (Bond) Cadwalader, who bequeathed it to his 
son, Judge John Cadwalader, from whom it passed to his son, John Cadwalader, 
Esq., of Philadelphia, the present owner. 


ExuiBiTep at “Loan Exhibition of Histor- December 1, 1887, to January 15, 1888. 
ical Portraits,” held at the Pennsylvania Not listed in Mason. 
Academy of the Fine Arts, Philadelphia, Listed in Fielding, No. 12. 


| Zllustrated | 


OSs) 


KIRK BOOTT 


1755-1817 
IRK BOOTT was born in 1755 in Derby, England, and came to 
Boston in 1783. Asa merchant of wholesale dry goods he amassed 
a fortune. His son, Kirk Boott, Junior, was the first manager of the 
Merrimack Manufacturing Co. and one of the founders of Lowell, 
Massachusetts. 


Boston, c.1810. Panel, 2814x227% inches. Bust, slightly less than three- 
quarters right, blue eyes to spectator; brownish hair turning gray and brushed for- 
ward on forehead and over ears. Ruddy complexion. Stout figure and fleshy face 
with high color; large head. Bluish-black high-collared coat with small brass but- 
tons, buttoned at breast; white stock and ruffled muslin shirt of very clear white. 
The background is plain and of pale grayish-brown. 

The portrait was painted for Boott’s daughter Frances Boott (1786-1873), 
wife of William Wells of Boston. It was then inherited by her son Kirk Boott Wells 
of Philadelphia, who owned it in 1888, and then by his son Kirk Boott Wells of 


New York, who sold it in May, 1919, to Messrs. M. Knoedler & Co. of New York. 
In 1924 it was acquired by Francis R. Welsh, Esq., of Devon, Pennsylvania. 


Exuisitep at “Loan Exhibition of Histor- Academy of the Fine Arts, Philadelphia. 
ical Portraits,” December 1, 1887, to Jan- Courtesy, Messrs. M. Knoedler & Co., New 
uary 15, 1888, held at the Pennsylvania York. 

| Illustrated | 


164 


‘C96 ): 
ELIZABETH BEALE BORDLEY 
1771-1863 

HE wasa daughter of John Beale Bordley of Wye Island, Maryland, 

by his second wife, Sarah (Fishbourne) Mifflin. She removed with 
her parents to Philadelphia, where she became a famous belle. She mar- 
ried in 1817 James Gibson of Philadelphia, and was left a widow some 
years before her death. She was a woman of superior intellect, polished 
manners, and of great personal charm. 


Philadelphia, c. 1797. Canvas, 28x22 inches. She is shown standing three- 
quarters left, to below the waist, with her large dreamy eyes directed to the spec- 
tator. Her luxuriant brown hair, lightly powdered in front, falls in large curls over 
her neck and both shoulders. She wears a simple white muslin dress, caught about 
the waist by a blue ribbon. In the background is a rich mass of brown foliage below 
which at the left is a distant landscape of hills, clouds, and sky. “Its simplicity,” 
says the late Charles Henry Hart, “‘is one of its greatest charms—simple in pose, in 
habit and in treatment. The sheer white muslin of the dress is relieved only by the 
blue ribbon which gathers it around the waist, and by the brown hair lightly pow- 
dered in front, falling over the neck and shoulder. The bloom of youth and health 
is upon the cheek, and the silvery shadows are as warm as though they were gold. 
Even the stone pillar and the distant landscape glow in unison with the painter’s 
scheme, and show what a consummate artist was Gilbert Stuart.” (Century Illus- 
trated Magazine, 1897, Vol. 33, p. 151.) 

Her portrait long hung in the Gibson mansion at Eighth and Spruce Streets, 
Philadelphia, and after Mrs. Gibson’s death it passed eventually in 1879 to Ed- 
ward Shippen of Philadelphia, who bequeathed it to Miss Elizabeth Mifflin, a 
niece of Mrs. Gibson, and in 1886 it was presented by her to the Pennsylvania 
Academy of the Fine Arts, Philadelphia. 


Exuisitep at “Loan Exhibition of Histor- REPRODUCED, in half-tone, in “The His- 
ical Portraits,” held at the Pennsylvania tory of American Painting,” by Samuel 
Academy of the Fine Arts, Philadelphia, Isham, New York, 1910, facing page 80. 
December 1, 1887, to January 15, 1888. A copy, somewhat smaller than the original, 

ENGRAVED, on wood, by Peter Aitken; in is owned by John Lawrence, Esq., of Gro- 
the Century Illustrated Magazine, 1897, ton, Massachusetts. 

Vol. 33, frontispiece. Copyright, Detroit Publishing Co. 
| Zllustrated | 


165 


a9 7) 


MRS. LEONARD VASSALL BORLAND 
1762-1836 


ARAH LLOYD, daughter of Doctor James (q.v.) and Sarah Lloyd 

of Boston, and sister of James Lloyd, United States Senator from 
Massachusetts (q.v.). She married in 1785 Leonard Vassall Borland 
(1759-1801) of Boston, and lived on Tremont Street. Her husband 
was a member of a prominent family which, originating in Scotland, 
had emigrated to the Manor of Queen’s Village, New York, and had 
thence come to Boston. He died on board the ship “John Jay” in June, 
1801, while returning from a voyage to Batavia. 


Boston, c. 1818. Panel, 27x21 inches. She is shown seated, three-quarters 
to the left, with her light brown eyes turned to the spectator. Her complexion is 
fair and her expression kindly. With the exception of a few curls on the temples, 
her light brown hair is concealed by a turban of some gauzy material held by an 
ornamental comb. She wears a black dress, finished at the neck with a double ruffle 
of lace, V-shaped, fastened with a small brooch. Around the waist is a ribbon tied 
ina bow in front. Over her shoulders is a red cashmere India shaw] with a colored 
border. The background is of gray tones with a pilaster showing in the center. 

At her death, this picture passed to her daughter, Augusta Elizabeth Borland 
(1795-1861), wife of William Parkinson Greene of Boston, and later of 
Norwich, Connecticut. It was, at Mrs. Greene’s death, inherited by her daughter, 
Anna Lloyd Greene (1829-1900), wife of John Jeffries of Boston, and at her 
death it passed to her son, William Augustus Jeffries, Esq., of Boston. 


ExuIBITep at “Loan Collection of Portraits March 11-31, 1895; lent by Mrs. John 
of Women,” at Copley Hall, Boston, Jeffries. 


166 


‘C98 )- 


NATHANIEL BOWDITCH 


L773 atO88 
Be in Salem, Massachusetts, where his father was a cooper. By 
close study he became famous as a mathematician and navigator. 
When correcting John Hamilton Moore’s work, “The New Practical 
Navigator,” which was published in 1796, he found so many errors that 
he decided to publish one of his own, and the result was his “New 
American Practical Navigator,” published in 1802, which became the 
standard work on the subject. In the same year he received the degree 
of A.M. from Harvard College. In 1814 he began on the great work of 
his life, the translation of Laplace’s “Mécanique Céleste,” the first vol- 
ume of which was published in 1829, the second in 1832, the third in 
1834, and the fourth just after his death. He received the degree of 
LL.D. in 1816, and he was a member of many scientific societies. 
Boston, 1827. Canvas, 29/2 x 24% inches. This portrait is unfinished, only the 
head being painted, and that not entirely completed. The hair is gray and the eyes 
grayish brown. 
It was painted for the East India Marine Society, but as Stuart did not live to 
finish it, Doctor Bowditch, after Stuart’s death, bought the picture. It was inher- 
ited by his son, William Ingersoll Bowditch (1819-1909 ), and then by the latter’s 


widow (Sarah Rhea Higginson). At Mrs. Bowditch’s death the portrait passed to 
her eldest son, James H. Bowditch, Esq., of Boston, the present owner. 


ExuIBITEpD at the Museum of Fine Arts, By J. Shuey & Son for the “Year Book of 


Boston, in 1880. Facts,” London, 1839, frontispiece. 
ENGRAVED— On wood, for Winsor’s “Memorial History 
In stipple, by Oliver Pelton, 3.11 x 2.15 of Boston,” 1881, Vol. 4, page 506. 


inches. (Stauffer, 2481.) 
[ Illustrated | 


167 


99: 


JAMES BOWDOIN 
1752-1811 


E was a son of Governor James Bowdoin of Boston and his wife, 
Elizabeth (Erving) Bowdoin. He graduated from Harvard in 
1771 and, after spending a year in studying law at Oxford, he traveled 
extensively in Italy, Holland and England. He was successively a mem- 
ber of the Assembly, Massachusetts State Senate and Council, and in 
1789 was a delegate to the State Constitutional Convention. In 1804 he 
was appointed Minister to Spain and went to Madrid in May, 1805. He 
was a liberal benefactor of Bowdoin College, named in honor of his 
father. He married his first cousin, Sarah Bowdoin (q.v.). 

Boston, c. 1806. Canvas, 29% x 2434 inches. He is shown bust, life-size, three- 
quarters right, with his hazel eyes directed to the spectator. His complexion is 
ruddy. He wears a powdered wig, black queue bow, white neckcloth and shirt frills, 
grayish coat showing a bit of yellow waistcoat and with large pearl or silver but- 
tons. The background is of warm brownish tones. 

His portrait was inherited at his death by his widow, and at her death, in 1826, 
was bequeathed, together with her own portrait by Stuart, to Bowdoin College, 
Brunswick, Maine. 


ENGRAVED, in stipple, by John Rubens A copy, in miniature, was made by Edward 
Smith, for “Polyanthos,” Boston, 1812, G. Malbone, and is owned by the heirs of 
3 x 2.6 inches. (Stauffer, 2917.) Mrs. Robert C. Winthrop of Boston. 
ReEpRopuUCED, in half-tone, in Interna- Baldwin Coolidge, photo. 
tional Studio, New York, August, 1923, 
page 432. 
[ Zllustrated | 


168 


-( LOO ): 


MRS. JAMES BOWDOIN 
c. 1760-1826 


HE was Sarah, daughter of William and Phoebe (Murdoch) Bow- 
doin of Boston. She married, first, her first cousin, James Bowdoin 
(q.v.), and, secondly, in 1813, General Henry Dearborn (q.v.). 


Boston, c. 1806. Canvas (s), 294 x 2434 inches. She is shown half-length, life- 
size, three-quarters left, with her light blue eyes directed to the spectator. She 
wears a plain white tight-fitting, high-waisted dress; and a white ruching of two 
falls about her neck. Her complexion is brilliant, and her brown hair, in ringlets 
on her forehead and temples, is nearly concealed by a white lace scarf which is 
worn mantilla-like and falls in straight folds on either side of the head and over her 
left breast. A red shawl, fallen from her shoulders, covers her arms. The back- 
ground at the right is a reddish-brown, and at the left is a grayish-green column 
with a clouded blue sky, beyond. 

The portrait was bequeathed by the sitter, in 1826, to Bowdoin College, Bruns- 
wick, Maine. 


REPRODUCED, in half-tone, in “Two Cen- Morse Earle, New York, 1903, Vol. II, 
turies of Costume in America,” by Alice page 758. 
Baldwin Coolidge, photo. 
| Zllustrated | 
-(( LOI ): 
JAMES TEMPLE BOWDOIN 
C752 Dor 
SON of Governor James and Elizabeth (Temple) Bowdoin of 
Boston. 


Boston, 1826. 
This portrait was owned, in 1875, by his daughter, the Princess di Pandolfina, 
of Florence, Italy. 


169 


eh OD.) 


MRS. JAMES TEMPLE BOWDOIN 
c.1760-1826 


Painted after her death, at her husband’s request, from sketches and crayons. 
This portrait was owned, in 1875, by her daughter, the Princess di Pandolfina, 
of Florence, Italy. 


( 103 )s 
GENERAL BOWLES 


This portrait was, according to Strickland, in the collection of Lord Fitzgerald 
and Vesci, and was sold in Dublin in August, 1843, by A. Jones. 


Not listed in Mason. Listed in Strickland as by Stuart. 


( 104 )s 
JOHN BOYDELL 


1719-1804 

SON of Josiah Boydell, a land surveyor of Shropshire. He became 

an engraver, and publisher of engravings, and amassed a fortune. 

In 1790 he was elected Lord Mayor of London, having been previously 
an alderman (1782) and sheriff (1785). In 1786, he began the publica- 
tion, by subscription, of prints illustrative of Shakespeare and com- 
missioned all the most celebrated artists then in England for paintings. 
The French revolution caused his trade to diminish, and in 1804 he was 


much in debt. His property was disposed of by lottery and realized 


170 


JOHN BOYDELL 


enough to make him solvent, but he died before the lottery was drawn. 
“His influence in encouraging native art in England was great, and 
salutary, assuming proportions of national importance.” 


London, c.1785. Canvas, 3534x33 inches. Shown at half-length, seated, 
facing and turned to the left, almost profile. He wears a white wig, with three 
rows of tight curls over his ears, a white stock and ruffled shirt, a waistcoat and 
coat with three buttons on the cuff, and his aldermanic gown and chain. Shirt 
ruffles show at his wrists and his hands rest on a table in front of him, unrolling 
what appears to be an engraving. Two large volumes stand upright on the table. 
The plain background is light in the center and dark at the top and toward the 
right. 

This portrait was sold at auction at Christie’s, London, July 19, 1907, and 
acquired by the late George H. Story of New York, who in April, 1912, sold it to 
M. Knoedler & Co. of New York, from whom it was purchased by Henry W. 
Sage, Esq., of Albany, New York. 


ENGRAVED— In stipple, by H. Mayer, 814 x 734 inches, 
In stipple, by J. G. Facius, 1802, 638 x 5 for Caddell & Davis’ “Contemporary 
inches. Two states. Portraits,” London, 1814. 
[ Illustrated | 


*( LOS ): 
JOSIAH BOYDELL 
U7 als Ly 
AINTER and engraver. Born in Flintshire, England; a nephew of 
Alderman John Boydell (q.v.). He went to London early in life 
under the care of his uncle, whose partner and successor he afterwards 
became. He studied under Benjamin West, and learned the art of mez- 
zotint engraving from Richard Earlom. He painted several of the sub- 


jects for his uncle’s Shakespeare Gallery and exhibited portraits and 
historical subjects at the Royal Academy between 1772 and 1799. He 


171 


JOSIAH BOYDELL 


was a Master of the Stationers? Company and succeeded his uncle as 
alderman of the Ward of Cheap, but ill-health compelled him to resign 
this office after a few years. 


Not listed in Mason. Listed in Fielding. 


-( 106 ): 


WARD NICHOLAS BOYLSTON 


1749-1828 


SON of Benjamin and Mary (Boylston) Hallowell of Jamaica 
A Plain, Massachusetts, his name being originally Ward Hallowell. 
In 1770, at the request of his mother’s brother, Nicholas Boylston 
(d. 1771), he dropped the name of Hallowell and to his Christian name 
added that of his uncle, and in the following year inherited his uncle’s 
estate. In 1773 he started on a “grand tour,” sailing from Boston and 
visiting Italy, Turkey, Syria, the Grecian Archipelago, Palestine, Egypt, 
and the Barbary coast, returning in 1775 through Switzerland, France, 
and Flanders to London, where, having sided with the American loy- 
alists, he established himself as a merchant. He returned to Boston in 
1800 and from 1804. until his death passed his summers at Princeton, 
Massachusetts, and his winters in Jamaica Plain. In 1819 to 1820 he 
built a large country house on his estate at Princeton, where he enter- 
tained on an extensive scale, and where Stuart painted him. He married 
twice, his second wife, Alicia Darrow of Yarmouth, England, being the 
mother of his children. She died at Princeton in 1843. Mr. Boylston 
was a generous benefactor of Harvard College. 


Princeton, Massachusetts, 1825. Canvas, 32x28 inches. This portrait was 
painted at Mr. Boylston’s home for $200, and shows him seated nearly front, but 


172 


his body and head turned slightly to his right, in a high arched-back armchair of 
light wood, upholstered in green. His right arm and hand, the latter holding an 
unfolded sheet of paper, rest upon a table covered with a green cloth, upon which 
are a flat sheet of paper, a leather-bound book, and an inkstand with a quill. His left 
hand grasps the arm of the chair. He wears a brownish-purple dressing gown with 
a sable collar, a buff embroidered waistcoat, white neckcloth, and lace jadot, high 
white standing collar, and white wristbands. His thick white hair is brushed for- 
ward on his forehead and over his ears, and a black queue bow shows. His florid 
cheeks are partially covered by white sidewhiskers, and his brown eyes look directly 
at the spectator. The background is a dark greenish-brown, becoming, in the lower 
portion of the picture, a light olive. 

Inherited by his widow, the portrait passed at her death in 1843 to a grandson, 
Ward Nicholas Boylston, M.D. (1815-1870) of Princeton, Massachusetts. At his 
death it became the property of his brother and sisters, and in 1887 passed to the 
survivor of them, Louisa Catherine Adams Boylston (1827-1895), wife of Edwin 
J. Nightingale of Providence, Rhode Island. The portrait is now owned by Mrs. 
Nightingale’s nephew and niece, Ward N. Boylston, Jr., and Miss Barbara H. 
Boylston. It was deposited in March, 1903, at the Museum of Fine Arts, Boston, 
and was still there in 1924. 


REPRODUCED, in heliotype, in “History of Everett Blake, 1915, Vol. I, opposite 
the Town of Princeton,” by Francis page 278. 


| [2lustrated | 


( 107 )s 


WARD NICHOLAS BOYLSTON 
1749-1828 


Princeton, Massachusetts, 1825. Panel, 21x17 inches. This portrait is merely 
an unfinished sketch of Mr. Boylston’s head in profile, painted to aid in preparing 
the Boylston medal which is presented from a fund given by Mr. Boylston in 1800, 
as a reward by Harvard College to the student who produces the best medical dis- 
sertation. It shows the left side of the head, the gray hair, brushed forward over 


173 


the ear and forehead, gray sidewhiskers, brown eye directed to the spectator’s left, 
and a ruddy complexion. The background is left unpainted. 

At Mr. Boylston’s death, his portrait passed to his widow and at her death in 
1843 was inherited by a grandson, Ward Nicholas Boylston, M.D. (1815-1870) 
of Princeton, Massachusetts. At his death, it became the property of his brother 
and sisters, and in 1887 it passed to the survivor of them, Louisa Catherine Adams 
Boylston (1827-1895), wife of Edwin J. Nightingale of Providence, Rhode 
Island. The portrait is now owned by Mrs. Nightingale’s nephew and niece, 
Ward N. Boylston, Jr., and Miss Barbara H. Boylston. 

Since 1913 the portrait has been loaned to the Museum of Fine Arts, Boston. 


Courtesy, Frick Art Reference Library, New York City. 


[ Zllustrated | 


-( 108 ): 


WARD NICHOLAS BOYLSTON 
1749-1828 


Princeton, 1825. Canvas, 3546 x 2734 inches. He is seated three-quarters left, 
with his brown eyes directed to the spectator, in a chair of neutral yellow-brown. 
He wears a greenish-gray coat with a brown fur collar; a buff vest; and white 
collar, neckband, cuffs, and ruffle. His hair and sidewhiskers are white. His left 
hand rests on the arm of his chair, while the right lies on the table, with its covering 
of green, holding an unfolded sheet of paper. Near his hand are a brown leather 
book, an inkstand into which a quill pen is thrust, and several sheets of white 
paper. The plain background is of neutral yellow-brown tones. 

This portrait, made at the request of the Boylston Medical Society, was given to 
the Society in 1825 by Mr. Boylston, and hangs in the Harvard Medical School, 
Boston, Massachusetts. 


LirHoGRAPHED (vignette) by Pendleton. Charles Darling, photo. 


174 


( 10g )s 


HUGH HENRY BRACKENRIDGE 
1748-1816 


URIST AND AUTHOR. He was born near Campbelton, Scot- 

land, and was brought over to the United States by his father, a 
farmer, in 1753. He grew up ona farm in York County, Pennsylvania; 
taught school while preparing for Princeton and was graduated from 
that college in 1771. In 1776 he removed to Philadelphia to edit the 
“United States Magazine.” He studied divinity and wasa chaplain in the 
Continental Army but never was ordained. Later he took up the study 
of law at Annapolis, Maryland, and in 178r he settled in Pittsburgh, 
Pennsylvania, where he became an eminent lawyer. In 1799 he was 
made judge of the Supreme Court of Pennsylvania. He was the author 
of many books, including “Bunker Hill,”a drama for the use of schools; 
“Law Miscellanies”; and “Modern Chivalry,” a political satire, said to 
be his best work. He died at Carlisle, Pennsylvania. 

Boston, c. 1810. Panel (s), 28x24 inches. Half-length, turned half-way to 
the left, seated in a chair upholstered in a light mulberry color. His hair is white 
and his brown eyes are directed to the spectator. He wears a black coat, a white 
turn-over collar and a filmy white 7zbot. His left hand is partly visible, holding a 
book into which the index finger is thrust. The background shows in the center a 
very dark olive-toned column and a curtain in mulberry of a darker shade than the 
chair, draped in such a way as to show a grayish-blue cloud-filled sky to the left. 

The portrait descended to the son of the subject, Alexander Brackenridge, of 
Pittsburgh, Pennsylvania, who gave it to his daughter, Mrs. Jane Denny Brack- 
enridge McKibbin of Pittsburgh, Pennsylvania, who gave it to her eldest son, 


Alexander Brackenridge McKibbin of Pittsburgh, from whom the present owner, 
Joseph McKibbin, Esq., of St. Paul, Minnesota, received it in 1890. 


Not listed in Mason. A copy, by Albert Rosenthal, is in Indepen- 
Listed in Fielding, No. 15. dence Hall, Philadelphia. 
[ Illustrated | 


175 


-(( TIO ): 


JOSIAH BRADLEE 
1778-1860 
E was a son of Josiah and Hannah (Putnam) Bradlee of Boston. 
He married, first, in 1802, Lucy Hall (q.v.), and secondly, in 
1817, Joanna Frothingham (1782-1841) of Boston. 


Boston, c. 1806. Panel, 2838x2258 inches. Mr. Bradlee is shown a little 
more than three-quarters right, a man of slight figure, with dark reddish-brown 
curly hair and sidewhiskers, dark blue eyes directed to the spectator, and with a 
brilliant complexion. He wears a black high-collared coat, buttoned, but showing 
an expanse of shirt front and a portion of the white waistcoat, a neckcloth tied in a 
bow, and a flaring collar, all of which are of a creamy yellowish-white. His hands 
are not shown. The background is plain and of a dark reddish-brown color. 

Inherited by his daughter, Lucy Hall Bradlee (1806-1901), wife of Samuel 
Lieberkuhn Shober (1789-1847) of Philadelphia, where it remained until Mrs. 
Shober’s death. It then passed to her nephew, Josiah Bradlee (1837-1903) of 
Boston. At Mr. Bradlee’s death it became the property of his widow, and is now 
owned by Frederick J. Bradlee of Boston. 


EXxHIBITED— 
At the exhibition of Stuart’s portraits, Bos- ber 1, 1887, to January 15, 1888. 
ton, 1828, No. 56. A copy, made by William M. Paxton, is 
At “Loan Exhibition of Historical Por- owned in the family. 
traits,” at the Pennsylvania Academy of Courtesy, Frick Art Reference Library, 
of the Fine Arts, Philadelphia, Decem- New York. 
[ Zllustrated | 
(III ) 


MRS. JOSIAH BRADLEE 
1783-1816 
HE was Lucy Hall, daughter of Benjamin and Lucy (Tufts) Hall 
of Medford, Massachusetts. She married in 1802 Josiah Bradlee 
(q.v.) of Boston, and died in Medford. 


176 


MRS. JOSIAH BRADLEE 


Boston, c. 1806. Panel, 29x23 inches. Mrs. Bradlee is represented as seated 
three-quarters left, to below waist, and with her dark brown eyes directed to the 
spectator, although neither the chair nor her hands are shown. She is wearing a 
close-fitting, high-necked dress of creamy white. At her neck is a plaited ruff of the 
same creamy whiteness, and a light sea-green shawl hangs from her right shoulder, 
encircling her body, and partially covering her upper left arm. Her red hair is 
parted and worn in curls on her forehead and temples. Her complexion is brilliant. 
The background is plain and of brownish-greenish-gray tones. 

Inherited by her daughter, Lucy Hall Bradlee (1806-1901), wife of Samuel 
Lieberkuhn Shober of Philadelphia, the portrait remained in Philadelphia until 
Mrs. Shober’s death, when it passed to Mrs. Shober’s nephew, Josiah Bradlee 
(1837-1903) of Boston. At Mr. Bradlee’s death it became the property of Philip 
B. Stone, Esq., of Boston. 


ExHIBITED— ENGRAVED, on wood, by Henry Wolf, for 
At the exhibition of Stuart’s portraits, Bos- the Century Illustrated Magazine, 1896, 
ton, 1828, No. 57. N.S.) 36:363. 
At the “Loan Exhibition of Historical Por- A copy, made by William M. Paxton, is 
traits,” held in Philadelphia at the Penn- owned in the family. 
sylvania Academy of Fine Arts, from Courtesy, Frick Art Reference Library, 
December 1, 1887, to January 15, 1888. New York. 
| Illustrated | 
-(( 112 


MRS. SAMUEL BRECK 


1747-1831 
ANNAH ANDREWS, married Samuel Breck (1747-1809), a 
wealthy Boston merchant, who removed in 1792 to Philadelphia, 


where he died. 


Philadelphia, c. 1800. Canvas, 26x21 inches. Bust portrait, turned half-way 
to the left, with her gray eyes directed to the spectator. Her blonde hair, worn in 
ringlets over her forehead, is almost concealed by a lace cap. Her black dress is 
filled in with a white net yoke which around her neck forms a pleated ruffle with 
narrow ribbon and bow. Over her shoulders she wears a collar of fine lace. The 
plain background is of a dark neutral color. 

This portrait was inherited by her son, George Breck, who left it to his daughter, 


177 


MRS. SAMUEL BRECK 


Anna Lloyd, wife of William H. Aspinwall of New York. It then passed to her 
daughter Louisa, wife of John W. Minturn, who bequeathed it to her daughter, 
Mrs. Paul Tuckerman of New York City and Tuxedo Park, New York, the present 


owner. 


Not listed in Mason. [ Zllustrated | 


( 113 »)s 


MRS. OLIVER BREWSTER 
(Née Catharine Jones) 


1784-1831 

Boston, c. 1820. She is shown dressed in a velvet gown, with a camel’s hair 
shawl draped around her. 

Owing to the absence of the owner abroad, a photograph and additional data 
concerning this portrait were not available. 

This portrait was inherited by her daughter Augusta, wife of the Reverend 
Christopher Toppan Thayer of Boston, who bequeathed it to her nephew, William 
Brewster, Esq., of Boston, the present owner. 

Exnuisitepat the exhibition of Stuart’s por- Boston, from 1897 to 1909. 


traits, Boston, 1828, No. 8. A copy was made by Jane Stuart. 
Deposited with the Museum of Fine Arts, 


‘(114 ): 
MRS. JOHN BROMFIELD 


OTHER of Mrs. Ann Tracy. 


In “Memorials of Mary Wilder White,”’ Boston, 1903, page 99, mention is 
made of Stuart’s portrait of Mrs. Bromfield which was once in Bromfield House 
in Harvard. 

Not listed in Mason. 


178 


( II5 )s 


GOVERNOR JOHN BROOKS 
WR a OOS 


OSE to rank of Colonel in the Revolution and was a faithful adher- 
R ent of Washington. After the war he settled as a physician in 
Medford, Massachusetts, where he was born. From 1812 to 1815 he was 
Adjutant-General of Massachusetts and in 1816 was elected Governor, 
being re-elected to the office for several years. From 1817 to his death 


he was president of the Massachusetts Medical Society, and Harvard in 
1816 gave him the degree of LL.D. and M.D. 


Medford, c. 1820. Panel (s), 3138x253 inches. He is seated three-quarters 
left, in a gilt Empire armchair, upholstered in red velvet, with his small light 
brown eyes directed to the spectator. His hair, tied with a black queue bow, and his 
sidewhiskers are white; his complexion is ruddy. His left arm rests upon the arm 
of the chair, and his left hand holds the hilt of a sword. He is dressed in uniform, 
with a dark blue coat with brass buttons and gold epaulettes, a buff-colored collar 
and lapels, a white neckcloth and frilled shirt. A red sash over his right shoulder 
crosses his breast diagonally to the sword hilt. The background is formed by the 
wall of the room, against which isa pilaster, and is in tones of warm browns. 

The portrait was owned in 1878 by Francis B. Brooks of Medford. Owned by 
Miss Frances Brooks of Milton, it passed at her death in 1918 to her sister, Louisa 
W. Brooks, and was sold in 1919 to her brother, Frederick Brooks, Esq., of Boston. 


ExHIBITED— LirHoGRAPHED by Pendleton for “Thach- 

At the exhibition of Stuart’s portraits, Bos- er’s American Medical Biography,” 1828, 
ton, 1828, No. 77. Vol. I. 

At the Museum of Fine Arts, Boston, in A copy, by Jacob Wagner, was presented in 
1880. 1892 by Messrs. Shepherd Brooks, Fran- 

ENGRAVED, on steel, by Asher Brown Du- cis Brooks and Peter Chardon Brooks of 
rand (1796-1886), after a copy by James Boston to the Commonwealth of Massa- 
Herring, in “National Portrait Gallery of chusetts, and hangs in the State House at 
Distinguished Americans,” 1835, Vol. 2; Boston. 


4.9 X 3.10 inches. (Stauffer, 561.) 


179 


‘(116 


PETER CHARDON BROOKS 
1767-1849 


ETER CHARDON BROOKS, son of the Reverend Edward and 

Abigail (Brown) Brooks of Medford, Massachusetts, was born at 
North Yarmouth, Maine. He was a descendant in the sixth generation 
from the well-known John Cotton. Starting in business as an insurance 
broker he subsequently accumulated a large fortune. In 1792 he married 
Ann Gorham and their daughters all married men who became distin- 
guished: Charles Francis Adams, Edward Everett and Reverend N. L. 
Frothingham. Mr. Brooks served as President of the New England 
Insurance Company for a number of years and was a member of the 
Senate and Legislature of Massachusetts at different times. 

Boston, c. 1810. Canvas, 29 x 24 inches. He is shown bust, three-quarters to the 
left, with his blue eyes toward the spectator. He has reddish-brown curly hair, a 
smiling expression and a twinkle in his eyes, but not much color in his face. A plain 
background of grayish-green, lighter around the head. 

This portrait has never been valued by the family as a good likeness and as 
worthy of Stuart. It was inherited by his daughter, Abigail Brown Brooks (1808— 
1889 ), wife of Charles Francis Adams of Boston; it passed at her death to her son, 


Charles Francis Adams (1835-1915) of Washington, District of Columbia, and 
was then inherited by his widow, Mrs. Mary O. Adams, the present owner. 


Not listed in Mason. Listed in Fielding, No. 17. 


180 


( 117 )s 
PETER CHARDON BROOKS 
1767-1849 


Inherited by his daughter, Charlotte Gray Brooks, wife of Edward Everett 
(q.v.) of Boston, and at her death by her son, Doctor William Everett (1839— 
1910) of Quincy, Massachusetts. This portrait was destroyed by fire when Doctor 
Everett’s house burned a few years ago. 


EXHIBITED at Museum of Fine Arts, Bos- Not listed in Mason. 
ton, in 1880. Listed in Fielding, No. 16. 


-( 118 )- 


MOSES BROWN 
1748-1820 


SON of Isaac and Mary (Balch) Brown of Waltham, Massachusetts. 
He was graduated from Harvard College in 1768, served in the 
Revolutionary War from 1775 to 1777, and was at the Battle of Tren- 
ton. After the war, he was in business in Beverly, Massachusetts, in 
partnership with his brother-in-law, Israel Thorndike (q.v.),and retired 
in 1800, having acquired much wealth. He was a benefactor of the 
Andover Theological School. He married, first, in 1774, Elizabeth 
Trask, and, secondly, in 1789, Mary Bridge, who died in 1842. 
Boston, c.1816. Panel, 3132x2534 inches. Half-length, seated in a gilt 
Empire armchair upholstered in old rose, turned half-way to the left, and with his 
eyes directed to the spectator. He wears a high-collared black coat, unbuttoned, a 


white neckcloth tied in a bow, a white standing collar, ruffled shirt, and white 
waistcoat. His left elbow rests upon the arm of the chair, and his left hand upon 


181 


his lap. His reddish-brown hair is brushed forward on his forehead, and he wears 
short sidewhiskers; his complexion is florid. His head is thrown into relief by the 
warm gray background into which a pilaster is introduced, which could be either 
paneling or architectural stone. 

Inherited by his son, Charles Browne (1793-1856) of Boston, and at his death 
by his widow, Elizabeth Arabella (Tilden) Browne (1806-1884). It then passed 
to her son, Edward Ingersoll Browne (d. 1903) of Boston, who bequeathed it to 
the Historical Society of Beverly, Massachusetts, where it hangs beside Froth- 
ingham’s portrait of Mrs. Browne. 


EXHIBITED at the Exhibition of Stuart’s The same engraving, in “New England 
Portraits, Boston, 1828, No. 170. Historical and Genealogical Register,” 
ENGRAVED, in stipple, by H. W. Smith, for 1885, Vol. 39, page 9; and also in the 
Henry Bond’s “Genealogies of Families “Essex Antiquarian,” 1904, Vol. 8, page 
and Descendants of Early Settlers at Wa- 97. 
tertown, Massachusetts,” 1860, page 168. 
| Zllustrated | 


-C LIQ ): 


MOSES BROWN 
1748-1820 


Boston, c. 1816. Panel (s), 3234x2534 inches. A replica of the previously 
described portrait. 

Inherited by his younger son, George Brown (1799-1846) of Beverly, and at 
his death by his widow, it passed at her death to her daughter, Mary Ellen Brown, 
who about 1885 gave it to her niece, Mrs. John W. Hitchings of East Saugus, 
Massachusetts. The latter sold it in 1913 to Frank Bulkeley Smith (1864-1918) 
of Worcester, and at the sale in New York in April, 1920, of his collection of 
paintings at auction, it was bought by a private collector. 


ExHIBITED— At the Rhode Island School of Design, 
At the Museum of Fine Arts, Boston, 1887. Providence, 1914. 
At the Worcester Art Museum, 1914. Not listed in Mason. 


Listed in Fielding. 


182 


-(( 120 ) 


JOHN BROWNE 
1741-1801 


N engraver. Born in Essex, England, the posthumous son of the 
A rector of Boston, Norfolk, England. He was apprenticed to 
Tinney, the engraver, of whom Woollett was also an apprentice. He 
then placed himself under Woollett, many of whose plates he com- 
menced. He practised exclusively as a landscape engraver and in that 
department reached a high degree of excellence. In 1770 he was elected 
associate-engraver of the Royal Academy and exhibited thirteen plates 
between 1767 and 1801. 

Stuart painted this portrait of John Browne for John Boydell. 


Not listed in Mason. 


(121 ): 


THE RIGHT HONORABLE 


WILLIAM BROWNLOW 
1726-1794 
SON of William Brownlow of County Armagh, Ireland, by his 
wife, Lady Elizabeth Hamilton, daughter of James, Sixth Earl of 
Abercorn. In 1754 he married, first, Judith Letitia Meredyth of New- 


town, Meath; in 1765 he married, second, Catherine, daughter of Roger 
Hall of Mount Hall, Downshire, Ireland. He was Member of Parliament 


183 


THE RIGHT HONORABLE WILLIAM BROWNLOW 
for County Armagh. His grandson, Charles Brownlow (1795-1847) 


was, in 1839, created Baron Lurgan. 


Dublin, c. 1790. Canvas, 362 x 314 inches. Half-length, seated half-way to 
the right in an armchair upholstered in red. His gray-blue eyes are directed to the 
spectator. He wears a very dark blue velvet coat, a pale yellow figured or embroid- 
ered waistcoat, a white neckcloth and ruffled shirt. His wig is powdered. His 
right hand, holding a letter, is resting on a table covered with a soft gray-blue 
cloth. The plain background is the color of dark oak. 

His portrait was inherited by his daughter Isabella (died 1848), wife of 
Richard, fourth Viscount Powerscourt (1762-1809). It is now in the possession 
of Lord Lurgan of Brownlow House, Lurgan, County Armagh, Ireland, and 
London, England. 


ENGRAVED— “Rt, Honble Willm Brownlow” in script. 
In mezzotint by Charles H. Hodges and No artist’s or engraver’s name. 
published in 1792; 1334 x 1034 inches. Not listed in Mason. 
(J. Chaloner Smith, No. 5.) Listed in Strickland. 
In line, for Dublin Universal Magazine A replica (or copy? ) of this portrait isowned 
and Review for November, 1792. Oval; by Viscount de Vesci. 
[ [dlustrated | 
( 122 ) 


REVEREND 
JOSEPH STEVENS BUCKMINSTER, D.D. 


1784-1812 


E was a son of the Reverend Joseph and Sarah (Stevens) Buck- 
minster of Portsmouth, New Hampshire. He was graduated at 
Harvard College in 1800. In 1805 to 1812 he was Minister of Brattle 
Square Church in Boston; from 1811 to 1812 he was a lecturer on 
Biblical Criticism at Harvard, and was one of the founders of the Boston 


184 


Atheneum. “He, if we may trust the recollections of those who were 
wont to hear him, was the Chrysostom of America. In countenance, 
voice, and gesture he had all the best gifts of an orator; and these were 
hallowed by profound religious feeling and enriched by faultless rhetoric 
and a glowing imagination, which have not since been transcended, if 
equaled, in the Boston pulpit.” (Winsor’s “Memorial History of Bos- 
ton,” Boston, 1881, Vol. III, page 475.) 


Boston, c.r81ro. Panel (s), 3258x26%%4 inches. He is shown seated, three- 
quarters left, with his dark brown eyes directed to the spectator, and dressed in a 
black gown, white stock and white muslin band. His left arm rests upon the arm of 
a gilt Empire chair upholstered in red, and his hands hold a book bound in calf, the 
index finger of the left hand being thrust between the yellow-edged pages. On the 
second finger of this hand isa small gold band ring. His hair and sidewhiskers are 
dark brown, and although his complexion is fresh, his face betokens lack of phy- 
sical strength. At the right background is a fluted pilaster and a portion of its base 
shows over the sitter’s shoulder. The distance is a rich warm red at the lower, 
shading to a dark reddish-brown at the upper portion of the picture. 

This portrait was inherited by his daughter, Eliza Buckminster, who married 
Thomas Lee (1779-1867) of Brookline, Massachusetts, and after Mrs. Lee’s 
death he presented the portrait in 1864 to the Boston Athenzeum. 


REPRODUCED, in photogravure, in “The Writings and Speeches of Daniel Webster,” 1903, 
Vol. 17, facing page 8. 
[ Zllustrated | 


(L22.) 


REVEREND 
JOSEPH STEVENS BUCKMINSTER, D.D. 


1784-1812 


Boston, c. 1810. Panel (s), 32%4 x 26% inches. This portrait is a replica of the 
previous picture, which it follows in every detail. 


This picture was painted by Stuart for Theodore Lyman (1792-1849) of 
185 


REVEREND JOSEPH STEVENS BUCKMINSTER, D.D. 


Boston, one of Doctor Buckminster’s parishioners, about 1810, and at Mr. 
Lyman’s death passed to his son, George William Lyman (1786-1880) of Boston, 
and then to his son, Arthur Theodore Lyman (1832-1915) of Boston. In 1916 it 
was offered for sale by Mr. Lyman’s heirs and was bought by Messrs. M. Knoedler 
& Co. of New York, who, in 1923, sold it to the Cincinnati Museum, Cincinnati, 


Ohio. 


EXHIBITED— 

At the exhibition of Stuart’s portraits, Bos- 
ton, 1828, No. 86. 

At the Museum of Fine Arts in Boston in 
1880. 

ENGRAVED— 

In stipple, by D. Edwin, for “Sermons by 
the Late Reverend J. S. Buckminster,” 
Boston, 1814, frontispiece. 4.15 x 4 ins. 
(Stauffer, 719.) 


On wood, by Kilburn, for Winsor’s “Me- 
morial History of Boston,” 1881, Vol. 
ITI, page 475. 

LiTHOGRAPHED, Vignette, by R. Cooke, for 
Moore’s Lithography, Boston. : 


REPRODUCED, in photogravure, in “Records 
of the Church in Brattle Square,” Boston, 
1902, facing page 50. 


‘(124 ): 


COMTE DE BUFFON 
1707-1788 


EORGE LOUIS LECLERC, Comte de Buffon. He was born in 
Montbard, in Burgundy, France. Famous French naturalist. 
Author of “Histoire Naturelle, Générale et particuliére.” He died in 


Paris. 


For sale in London, July, 1923, according to information from the late John 
Lane, London, who declared it to be the work of Stuart. I have not been able to 


verify the correctness of this attribution. 


Not listed in Mason. 


( 125 )s 
DOCTOR JOHN BULLUS 


FTER studying medicine in Philadelphia with Doctor Benjamin 
Rush, John Bullus married in 1800 Charlotte Jane Rumsey (q.v.) 
and went to Washington, where he lived for a number of years. When 
war with France seemed imminent he entered the Navy asa surgeon, but 
later resigned his commission to accept an appointment as Consul to 
Marseilles. He sailed with his wife and three children on the ‘Chesa- 
peake,’ with Captain James Barron, in June, 1807, and was a witness 
of and participant in the very remarkable encounter between the 
‘Chesapeake’ and the ‘Leopard.’ After the ‘Chesapeake’ returned to 
port Doctor Bullus relinquished the Consulate at Marseilles. Having 
been an eye-witness of the affair between the ‘Chesapeake’ and the 
‘Leopard,’ he was selected by President Madison as bearer of despatches 
and sent to England in relation to the matter. 

Washington, c. 1802. Canvas, 29% x 24% inches. Shown to waist, standing, 
turned three-quarters to the right, with his blue eyes to the spectator. He has 
wavy light brown hair, and his complexion is ruddy. He wears a bluish-black naval 
uniform with brass buttons and frogs, the high collar turned up, with a white 
standing collar showing above it at the chin. The plain background is of a grayish- 
brown tone with hints of pale blue. 

Inherited by his granddaughters, Miss Bullus and Mrs. Taylor of New York 


in 1900; then by Surrogate Robert Ludlow Fowler of New York, who gave it to 
his son, Robert Ludlow Fowler, Jr., Esq., of New York. 


Exursitep at Hudson-Fulton Exhibition, Listed in Fielding, No. 19. 


New York, 1909 (37). A copy is owned by Mrs. Arthur Bullus of 
REPRODUCED, in half-tone, in “Salons Co- New York. 

lonial and Republican,” by Anne H. Courtesy, Frick Art Reference Library, New 

Wharton, Philadelphia, 1900, page 199. York City. 


Not listed in Mason. 
| Illustrated | 


187 


(126 


MRS. JOHN BULLUS 
1780-1868 


HARLOTTE JANE RUMSEY, daughter of Colonel Charles 

Rumsey (1736-1780) of Cecil County, Maryland, and his wife 
Abigail Jane Caner (died 1827). She married Doctor John Bullus (q.v.) 
and they had five children. The Rumseys came from Wales to America 
about 166s and their old mansion in Middle Neck at the head of the 
Bohemia River wasa pretentious brick building of thirty rooms. 


Washington, c. 1802. Canvas, 29x24) inches. She is shown standing, to 
below the waist, three-quarters left, with her brown eyes directed to the spectator. 
Her brown hair is parted and in ringlets on her forehead. She wears a very simple 
white dress, with a low neck edged with tulle and caught at intervals by bands of 
small pearls; the short sleeve and high waist are encircled by a band of similar pearl 
trimming. Her left arm, hand not shown, hangs at her side, and she leans upon 
her right arm, which rests, entirely concealed by a brownish-plum colored fringed 
shawl, upon a stone parapet, with only the hand showing. In the background at the 
right is a mass of freely painted grayish-green foliage, with blue, cloud-flecked sky 
at the left. 

This portrait is now owned by Robert Ludlow Fowler, Jr., Esq., of New York, 
its history being identical to that of the portrait of Doctor John Bullus. 


EXHIBITED, at Hudson-Fulton Exhibition, A copy is owned by Mrs. Arthur Bullus of 


New York, 1909 (38). New York. 
REPRODUCED, in half-tone, in “Salons Co- Courtesy, Frick Art Reference Library, New 
lonial and Republican,” by Anne H. York City. 


Wharton, 1900, facing page 200. 
In half-tone, in catalogue of the Hudson- 
Fulton Exhibition, Vol. II, facing page 16. 


[ Zllustrated | 


188 


( 127 ): 
SIR FRANCIS BURDETT 
1770-1844 


Canvas. Bust portrait, nearly front, turned slightly to his right; brown hair, 
brown eyes directed to the spectator. Ruddy complexion. Black coat with brass 
buttons, white collar and neckcloth; plain reddish brown background. 

This portrait, which in April, 1918, was in the hands of a Boston picture dealer, 
has been much over-cleaned and over-varnished. 


Not listed in Mason. 


-( 128 ): 


AARON BURR 
1756-1836 


SON of Aaron and Esther (Edwards) Burr and grandson of the 
Reverend Jonathan Edwards, who brought him up. He was grad- 

uated from the College of New Jersey (now Princeton University), of 
which his father was President in 1772. In 1782 he married Mrs. 
Theodosia Prevost, ten years his senior, widow of an English officer, by 
whom he had one child, Theodosia (q.v.), who married Joseph Alston, 
a wealthy planter of South Carolina. Mrs. Burr died in 1794 when her 
child was eleven years old, and this may explain the extraordinary affec- 
tion which existed between Aaron Burr and his daughter. At the age of 
seventy-eight he married Madame Stephen Jumel, one of his clients, but 
they separated almost immediately. The tragic career of Aaron Burr isa 
most dramatic chapter in American history, and has been thoroughly 
covered by historians. He died a lonely, helpless invalid. For two years 


189 


his burial place, which was near his father’s at Princeton, New Jersey, 
was unmarked. Then at night-time, unknown friends erected over his 
grave a plain marble shaft. 


New York, c. 1794. Canvas, 2934x2434 inches. He is shown bust, three- 
quarters left, with his brown eyes directed to the spectator. His complexion is 
ruddy and his dark hair, brushed back and turning gray above his forehead, is tied 
with a queue bow. He wears a loose, grayish-black coat or morning gown, and a 
white loose shirt collar; a red waistcoat is seen above the lapels of his coat. The 
background is plain, of reddish-brown tones, the red being more pronounced 
around the head, and particularly near the right side of the face, with brown tones 
towards the edge of the canvas. 

A communication from David A. Hayes, printed in the New Jersey Historical 
Society Proceedings, first Series, Vol. X, 1865-66, Nos. 3 and 4, page 170, gives 
a most interesting story of the discovery of this picture. It appears that Aaron 
Burr, prior to his breaking up his home in New York, left this portrait of himself 
and one of his daughter, as well as portraits of his father and mother, in the care 
of a colored man named Keaser, who for some years had been his body servant. 
Judge Ogden Edwards of New York, who was a relative of Aaron Burr on his 
mother’s side, diligently searched many years for these portraits and finally located 
them with the help of Mr. John Chetwood, a lawyer in Newark, New Jersey, in 
the shack of Keaser’s daughter, located in the “Short Hills of New Jersey.” He 
secured all four paintings. As Judge Edwards had already a portrait of Aaron 
Burr, the son, he presented the one they found to Mr. Chetwood who, in 1849, on 
leaving for California, left it with Mr. David A. Hayes to be presented in his 
name to the New Jersey Historical Society, Newark, New Jersey. 

Not listed in Mason. Listed in Fielding, No. 22. 


[ Illustrated | 


-(( 129 ): 
AARON BURR 
1756-1836 


New York, c.1794. Canvas (s), 2938x23% inches. A replica of the pre- 
ceding portrait. 
Presented to the Museum of Historic Art at Princeton University, Princeton, 


190 


AARON BURR 


New Jersey, about 1915, by W. O. Morse, Esq., in the name of two descendants 
of Aaron Burr: Harriet Burr Morse and Marie Burr Hanna Curran. According 
to the donor, the portrait has always been in the possession of Burr descendants. It 
has temporarily been placed in Madison Hall, Princeton University. 


ReEpropuceD, in half-tone, in “Romantic Crawford, 1912, facing page III. 
Days in the Early Republic,” by Mary C. Not listed in Mason. 


( 130 )s 
THEODOSIA BURR 
1783-1812 


HEODOSIA, the daughter of Aaron and Theodosia (Bartow) 

| Prévost] Burr, was a descendant of the famous theologian Jona- 
than Edwards, and was herself a brilliant scion of distinguished forbears. 
Her father, the ill-fated Aaron Burr, was peculiarly attached to her and 
proud of her remarkable accomplishments and attractions. Her mother 
died when Theodosia was eleven years old, and in 1801 she married 
Joseph Alston (1779-1816), a wealthy South Carolinian of a promi- 
nent family, who was governor of that state in 1812. Theodosia Burr 
Alston met a tragic and mysterious death at sea on her way from South 
Carolina to New York, December, 1812. The vessel was never heard of 
again, and a pathetic story is told of her father, Aaron Burr, going every 
day for years to the Battery when boats were expected, to look in vain 
for the adored child who was never to return. 


New York, 1794. Canvas, 29x23 inches. Life-size, seated three-quarters 
right in an armchair upholstered in dark red. The figure is placed to the left of the 
center of the canvas. She is shown as a young girl in her twelfth year, wearing a 
simple low-necked white gown, the neck trimmed with white lace, and a white 
shawl is falling from her shoulders, covering her arms. She gazes at the spectator 


1QI 


THEODOSIA BURR 


with large, brown, dreamy eyes, and her straight brown hair is brushed forward on 
her forehead and falls upon her neck. Beside her at her left is a table covered with 
a brownish-red cloth on which rest two leather-bound books with red title labels. 
Another book is held in her right hand, lying on her lap, with the index finger 
thrust between the pages. A bit of a pale grayish-blue satin sash is shown at her 
waist. The background is of a dark greenish tone, and a gray fluted pilaster at the 
right is seen rising beyond the table. The picture was at one time in bad condition, 
and the head has been much restored, losing a good deal of the Stuart feeling by 
the process. On the upper one of the two books lying on the table is written: 
“Burr”; directly below it on the lower book is “G. Stuart 95.Ft.” 

In a letter from her father, written to her under date of January 5, 1795, he 
says: “Your picture is really like you; still it does not quite please me. It has a pen- 
sive, sentimental air, that of a love-sick maid. Stuart has probably meant to antici- 
pate what you may be at sixteen, but even in that I think he has missed it.”— 
(“Theodosia, the First Gentlewoman of Her Time,” by Charles Felton Pidgin, 
Boston, 1907, page 199.) 

This portrait was in the possession of Judge Ogden Edwards, and is in all prob- 
ability the one which he found, together with the Stuart portrait of Aaron Burr, 
in the house of a colored woman in the “Short Hills of New Jersey” (see history 
of the Aaron Burr portrait now in the New Jersey Historical Society). From his 
family it came to Miss Amy Edwards of Elizabeth, New Jersey, who bequeathed 
it to Miss Laura Jay Edwards of Milbrook, New York, from whom it was bought 
in April, 1919, by Miss Annie Burr Jennings, New York City, the present owner. 
When Miss Jennings acquired it, the portrait was attributed to Vanderlyn, but 
when it was cleaned the rather bright colors disappeared and the original soft- 
toned Stuart came out. | 


REPRODUCED, in half-tone (from a photo- Minnigerode, 1925, Vol. I, facing page 
graph taken before the picture was re- 128. 
stored to its present state), in “Aaron Not listed in Mason. 


Burr,” by Samuel H. Wandell and Meade 


[ Zllustrated | 


192 


eg): 
REVEREND 
CHARLES BURROUGHS, D.D. 
1787-1868 


HE Reverend Charles Burroughs was a son of George and Mary 

(Fullerton) Burroughs of Boston, Massachusetts. He was gradu- 
ated from Harvard College in 1806 and studied theology. He was 
Rector of St. John’s Church, Portsmouth, New Hampshire, for nearly 
half a century; President of the New Hampshire Insane Asylum for 
nearly thirty years; for forty years was annually elected President of the 
Portsmouth Atheneum; and President of the General Theological 
Library of Boston from its establishment to the time of his death. In 
1833 the degree of D.D. was conferred upon him by Columbia 
University. In 1823 he married Anne Rindge Pierce. He died in Ports- 
mouth and was buried in Mount Auburn Cemetery, Cambridge, 
Massachusetts. 


Boston, c. 1820. Canvas, 30x25 inches. He is seated, turned half-way to the 
left, with his right arm resting on a table (a bit of which, covered with a lively- 
covered red cloth, shows at the lower left), while his right hand holds a leather- 
bound book, the index finger partly thrust into the leaves. His head is bald, 
encircled with auburn hair which is brushed forward, and he wears short side- 
whiskers. His small merry brown eyes are directed to the spectator, and his com- 
plexion is ruddy. He is dressed in a black gown with white muslin bands, and a 
broad white rolling collar. The background is of a French gray, with a large 
column in the center, and a portion of another is at the extreme right, behind which 
hangs a crimson curtain which, between the columns, assumes the color of port 
wine. 

The portrait was painted at the request of his father, George Burroughs (1758- 
1846), who had it in his possession until his death. It descended to his eldest son, 
Henry (1783-1870), who bequeathed it to his son, the Reverend Henry Bur- 
roughs (1815-1884), Rector of Christ Church, Boston, who left it to his widow, 


193 


REVEREND CHARLES BURROUGHS, D.D. 


Sarah (Tilden) Burroughs (1817-1906). Mrs. Burroughs, in 1895, presented all 
the family portraits in her possession to her grandson, George Burroughs, Esq., of 
Boston, son of Major George Burroughs (1841-1870). He is the present owner 
of this portrait. 


EXHIBITED at the exhibition of Stuart’s portraits, Boston, 1828, No. 83. 


[ Zllustrated | 


( 132 )s 
BENJAMIN BUSSEY 


175 7a oe 

E was a son of Benjamin and Ruth (Hartwell) Bussey of Stough- 
H ton, Massachusetts. He served in the Revolutionary War, and was 
present at Burgoyne’s surrender. After the war he learned the silver- 
smith’s trade and then engaged in mercantile pursuits. He married in 
1780 Judith Gay (q.v.) of Dedham, Massachusetts, and in 1790 re- 
moved to Boston where in a few years he amassed a fortune and became 
one of the wealthiest men in New England. In 1815 he built his country 
home, “Woodland Hill,” at Jamaica Plain, near Boston, and the remain- 
der of his life was principally passed there. He became interested in the 
promotion of agriculture, and left by his will a large sum of money to 
Harvard College to found the Bussey Institute for the study of agri- 
culture. He also founded at Harvard the Bussey Professorship of New 
Testament Criticism and Interpretation, and another of Theology and 


Law. 


Boston, 1809. Panel, 32 x 26% inches. Bust, three-quarters left, with blue eyes 
to the spectator, and seated in an Empire armchair upholstered in red. His hair is 
white or powdered, his complexion rosy. He wears a black coat, buttoned, a black 
queue bow, white neckcloth and shirt frills. His left arm rests on the arm of the 
chair. The background is plain and of brownish-olive tones. 


194 


BENJAMIN BUSSEY 


His daughter, Mrs. Charles Davis (1783-1841 ), writing to her mother under 
date of 13 October, 1809, says: ““The day before yesterday I called to see Mr. 
Stewart—found him in one of his happiest humours, and with a little flattery 
which we all like at times, (and) a song Catherine had copied for him, we made 
him promise to have my father’s portrait finished ina month from this time. I told 
him I should pursue him like his own shadow untill he compleated it. He is going 
to take Mrs. Swan’s house and as soon as he had moved he finishes the portraits.” 
(Referring to the portraits of herself, her husband, her father, mother, and 
brother.) Writing again to her mother six days later, Mrs. Davis says: “I have 
been again to Mr. Stuarts, he has promised me my father’s portrait shall be finished 
by your return. It is the very image of himself, and the pleasure I have now in 
viewing it, lessens the pain of our separation for I feel as tho’ in his presence when 
I look at the portrait.” 

Inherited by his wife, at her death in 1849 the portrait descended to her grand- 
daughter, Maria Bussey Davis (1814-1894), the wife of Thomas Motley 
(1812-1895) of “Woodland Hill,” and at Mrs. Motley’s death it became, by the 
terms of Mr. Bussey’s will, the property of Harvard University. It has hung since 
1895 in University Hall at Cambridge, Massachusetts. 


ExuIBITED at the exhibition of Stuart’s por- No. 3, frontispiece. 
traits, Boston, 1828, No. 51. A copy, made in 1914 by Giovanni Battista 
REPRODUCED, in heliotype, in the Dedham Troccoli, hangs in the Dining Hall of the 
Historical Register, July, 1899, Vol. X, Harvard Club, Boston. 


( 133 )s 


MRS. BENJAMIN BUSSEY 
1762-1849 
UDITH, daughter of Joshua and Hannah (Fisher) Gay of Dedham, 
Massachusetts. She married in 1780 Benjamin Bussey (q.v.). 


Boston, 1809. Panel (s), 3234x26% inches. Life-size, three-quarters right, 
seated in a gilt Empire armchair upholstered in red velvet, with her brown eyes to 
the spectator. She wears a black velvet gown, cut low with a square neck and short 


195 


MRS. BENJAMIN BUSSEY 


sleeves, the neck being trimmed with narrow white lace. A white lace shawl 
encircles her body, falling over her left forearm and crossing her right arm above 
the elbow, and a piece of lace like the shawl hangs from the back of her hair. Her 
eyebrows are rather heavy, her complexion fresh and brilliant, and her hair, in 
loose curls on her forehead and in front of her ears, is dark brown. Her right arm 
rests upon the arm of the chair, and her hands lie upon her lap with the fingers 
interlocked. The background is plain and dark. 

Inherited at her death by her granddaughter, Maria Bussey Davis (1814- 
1894), wife of Thomas Motley (1812-1895) of “Woodland Hill,” Jamaica 
Plain, Massachusetts, the picture passed, at Mrs. Motley’s death, to her daughter, 
Miss Katherine Putnam Motley of Chestnut Hill, Massachusetts. 


ExuIBiTep at the exhibition of Stuart’s por- of Boston, is owned by Charles Motley 
traits, Boston, 1828, No. 50. Clark, Esq., of Boston, Massachusetts, a 
A copy, made about 1885 by Edgar Parker descendant of Mrs. Bussey. 


"C134 ): 


BENJAMIN BUSSEY, JR. 
1781-1808 


E was the only son of Benjamin (q.v.) and Judith (Gay) Bussey 
(q.v.) of Dedham and Boston, Massachusetts, and was a brother 

of Mrs. Charles Davis (q.v.). He graduated from Harvard in the class of — 
1803, and died unmarried. 


Boston, 1809. Panel, 3258 x26 inches. This portrait was painted a year after 
Mr. Bussey’s death, for his father; and Stuart, in obtaining the likeness, relied 
largely upon a small wax bas-relief made by John Christian Rauschner shortly be- 
fore Mr. Bussey died, and now in the possession of Mrs. Lawrence Park of Groton, 
Massachusetts. Whether Stuart was personally acquainted with Mr. Bussey is not 
known, but it is probable that he received much helpful criticism from Mr. Bus- 
sey’s father, mother and sister, whose portraits he was painting at about the same 
time. He is shown seated, three-quarters left, in a gilt Empire armchair, uphol- 


196 


BENJAMIN BUSSEY, JR. 


stered in red velvet. He wears a black, high-collared coat, buttoned at the waist, a 
white standing collar, loose neckcloth, and ruffled shirt, and a grayish-white waist- 
coat. A fob attached to a red ribbon shows below his waistcoat, and his hands are 
brought together in his lap, the right hand resting lightly upon his left. His light 
brown hair is brushed forward over his ears and on his forehead so as nearly to 
cover it, and he has curly sidewhiskers which reach to his collar. His large, light 
blue eyes gaze directly at the spectator. His face is thin, with high and rather 
prominent cheek-bones, and his coloring is brilliant. The background, of a green- 
ish-gray tone, shows two pilasters, and above and behind the sitter’s head is sus- 
pended a dark red curtain which hangs in two large, sweeping folds. 

At the death in 1842 of Mr. Bussey’s father, for whom the portrait was painted, 
it passed to his mother, and at her death in 1849 to her granddaughter, Maria 
Bussey Davis (1814-1894), wife of Thomas Motley (1812-1895) of “Wood- 
land Hill,” Jamaica Plain, Massachusetts. At Mrs. Motley’s death the portrait 
became the property of a great-granddaughter of Benjamin Bussey, Senior, Lydia 
Chandler Head (1828-1915) of Brookline, Massachusetts, and from her passed 
to her niece, Eleanor Davis Head, the wife of Clarence Howard Clark, Junior, 
Esq., of Philadelphia, Pennsylvania, who in 1925 sold it to Robert C. Vose of 
Boston. 


ExHIBITED— 
At the exhibition of Stuart’s portraits, Bos- At the Museum of Fine Arts, Boston, Au- 
ton, 1828, No. 195. gust 10 to December 10, 1915. 
/ 


[Illustrated | 


( 135 »)s 


ADMIRAL SIR ROBERT CALDER 
1745-1818 


OURTH son of Sir James Calder, baronet, by his wife Alice, 
daughter of Admiral Robert Hughes. He entered the navy in 1759; 
became lieutenant in 1762 and post-captain in 1780; was knighted in 
1797 and created baronet in 1798; advanced to rear-admiral in 1799 


197 


ADMIRAL SIR ROBERT CALDER 


and admiral by order of seniority in 1810; K.C.B. in 1815. He served in 
the battle of Cape Vincent. In 1779 he married Amelia Michell of 
Bayfield, Norfolk, but had no issue. 


London, c. 1778-79. Canvas, 36x28 inches. He is shown standing, three- 
quarters length, turned slightly to the left, with his blue eyes directed to the spec- 
tator. He wears a lieutenant’s uniform of blue coat with gold braid on the collar, 
lapels, and cuffs; a white neckcloth and frill in the form of a rosette; a blue queue 
bow; white waistcoat with small gold buttons. His left elbow rests on grayish- 
green rocks, and he holds in his left hand a black chapeau trimmed with gold braid. 
The background is of blue sky with smoke-colored clouds. A coat of arms, in the 
upper right-hand corner, has been painted out, as being thought to have been a late 
addition. Of the sale of this picture at Christie’s, the Comnozsseur says: “Interest 
was displayed” in this picture, “with its tricks of arms.” 

The portrait was sold at Christie’s, London, in a sale of the collection of 
Archibald Ramsden on February 2, 1917, No. 239, to Frank T. Sabin, the London 
dealer. It is now owned by Thomas B. Clarke, Esq., of New York. 


ExuIBITED at the Union League Club, New York City, January, 1922 (15). 
Not listed in Mason. 
[Illustrated | 


( 136 ) 
JOHN CALLENDER 


Born in 1782 


This portrait, which Mason calls “superb,” was inherited in 1879 by his niece, 
Miss Callender of Newport, Rhode Island. In 1919 it was owned by Miss Mary 
R. Callender of New York City. 

The late Charles Henry Hart doubted that it was the work of Stuart. 


198 


( TER 7, )s 
THOMAS CALLENDER 
1778-1830 


His portrait, which Mason calls “an ordinary picture,” was inherited by his 
_ daughter, Miss Callender of Newport, Rhode Island. In 1919 it was owned by 
Miss Mary R. Callender of New York City. 


EXHIBITED at the exhibition of Stuart’s portraits, Boston, 1828, No. 64. 


( 138 )s 
GEORGE CALVERT 
1768-1838 


EORGE was the son of Benedict and Elizabeth (Calvert) Calvert. 

His paternal grandfather was Charles Calvert, fifth Lord Balti- 
more, and his maternal grandfather Charles Calvert, first Governor of 
Maryland from 1720 to 1727. On June 11, 1799, he married Rosalie 
Eugenia Stier (q.v.). 


Riversdale, c.1810. Canvas, 29x23) inches. Half-length, seated, three- 
quarters to the right, in a chair upholstered in crimson; his dark blue eyes are 
directed to the spectator. His hair is reddish brown and his complexion is very 
florid. He wears a black coat, white neckcloth and bow tie. Plain, warm, dark 
background. 

This portrait and the portrait of his wife and child, also by Stuart, were inher- 
ited by his widow, at whose death they passed to their son, Charles Calvert, and 
then to his brother, George Henry Calvert, of Newport, Rhode Island. He 
bequeathed the portraits to his nephew, George Henry Calvert of Washington, 
who sold them in 191 5 to his cousin, the present owner, Doctor T. Morris Murray 
of Boston, Massachusetts, a great-grandson of the subject. 


[ Zllustrated | 


199 


( 139 )s 


MRS. GEORGE CALVERT 
Baptised February 16, 1778 


AND DAUGHTER CAROLINE 
1800-1842 
OSALIE EUGENIA, daughter of Henri Joseph, Baron d’Artelear, 
who wasa direct descendant of Rubens, and Marie Louise (Peters) 
Stier. In 1799 she married George Calvert (q.v.). 


Riversdale, c. 1810. Canvas, 29x 22% inches. Half-length, three-quarters to 
the left, seated in an armchair upholstered in red, with her daughter Caroline 
shown to the waist, standing at her side. Mrs. Calvert’s brown eyes are directed 
towards the spectator; her dark brown hair is worn in ringlets on her forehead; and 
there is a high color in her cheeks. She wears a low-cut, high-waisted, short- 
sleeved black dress, with the neck trimmed with a narrow ruching of white lace. 
The child looks up into her mother’s face with her brown eyes; her hair is also 
brown and curly and her cheeks are rosy. She wears a white dress with short sleeves 
and high waist. The background is plain and in warm tones of greens and browns. 

This portrait is owned by Doctor T. Morris Murray of Boston, its history being 
the same as that of Stuart’s portrait of George Calvert. 


[ Zllustrated | 


(I 40 )s 
JOHN CAMPBELL 
C. 1756-1817 
E was of Jamaica, British West Indies, and owned the estates of 
Spotfield and Gibraltar on that island, and also property at Phill’s 
Hill, near New York. He represented for many years the parish of 
Trelawny, in the Jamaica House of Assembly, and died at Clifton, 


England. A tablet to his memory, erected by his widow, is in the Bristol 
Cathedral. 


200 


JOHN CAMPBELL 


New York, c. 1794. Canvas, 36x 28 inches. He is shown half-length, life-size, 
seated in a Windsor chair and turned three-quarters left, with his gray-blue eyes 
to the spectator. His hair, slightly powdered, is brushed back from a high fore- 
head. His face is inclined to fleshiness, with a double chin, and his complexion is 
ruddy. He wears a high-collared dark blue coat, with large brass buttons. His 
neckcloth is white and his waistcoat, with small brass buttons, and trousers are 
cream-colored. A fob with two carnelians is shown below the bottom edge of the 
waistcoat. There is also a row of small brass buttons on the slashed coat sleeve. 
With his right hand he holds a closed leather-bound book which rests upon his 
right leg, and with his left hand he grasps the arm of the chair. The background 
is greenish-gray over a warm umber underpaint. 

This portrait came into the possession of James Lenox (1800-1880) of 
New York, from whom it passed with other paintings and books forming his 
private library, to the Lenox Library. In 1885 the Lenox Library became part of 
the New York Public Library. 


A copy was made by C. B. Moulton. 
[ Illustrated | 


(I AI »)s 
HUGH CARLETON 
1739-1826 


DUCATED at Trinity College, Dublin. Called to the Irish bar in 
1764. Was Chief Justice of the Common Pleas of Ireland. Created 
Viscount Carleton in 1797. He married, first, in 1766, Elizabeth, only 
daughter of Richard Mercer; second, in 1795, Mary Buckley, second 
daughter of Andrew Matthew. 


Canvas, 28 x 23 inches. 
Owned by the Earl of Normanton, Somerley, Ringwood, Hants, England. 


Not listed in Mason. 
Listed in Strickland as by Stuart and as painted in Dublin. 


201 


( 142 )s 
EARL OF CARNARVON 


I741-1811 


ENRY HERBERT, first Earl of Carnarvon, eldest son of the 
Honorable William Herbert. In 1771 he married Elizabeth 
Alicia Maria (died 1826), daughter of Charles, first Earl of Egremont. 
In 1780 he was created Lord Porchester, of High Clere, County South- 
ampton, and advanced to the Earldom of the town and county of Car- 


narvon in 1793. 


This portrait was painted in conjunction with Gainsborough. The engraving by 
William Ward, which states this fact, shows the Earl of Carnarvon at nearly full- 
length, turned three-quarters to the left, with his eyes directed at the spectator. He 
wears a powdered wig and is shown ina very elaborate costume and with decorative 
surroundings. At his left elbow is a carved and upholstered armchair, on which 
are placed three large volumes bound in tooled leather. His left hand holds a paper 
and his right hand rests on some other papers which lie on a table covered with a 
figured cloth. On the table there is also a metal stand with three ink-bottles and a 
quill pen thrust into one of them. The center of the background shows an archi- 
tectural column, behind which, to the left, is what appears to be a door with a coat- 
of-arms, while at the right of the column is a drapery with cord and tassel. 

Inherited: by his son, Henry George (1772-1833); grandson, Henry John 
(1800-1849); great-grandson, Henry Howard Molyneux (1831-1890); great- 
great-grandson, George Edward Stanhope Molyneux (1866-1923). 


ENGRAVED, in mezzotint, by William Ward, Not listed in Mason. 


1795, 1734X 1334 inches. Four states. (J. Listed in Strickland. 
Chaloner Smith, No. 24.) 


202 


( 143 )s 
ARCHBISHOP JOHN CARROLL 


WAL OL, 

OHN CARROLL, first Roman Catholic archbishop of the United 
States and the founder of the Georgetown Academy, was born in 
Upper Marlboro, Prince George’s County, Maryland. He was the third 
son of Daniel and Eleanor (Darnall) Carroll, and a cousin of Charles 
Carroll of Carrollton. Educated at the Jesuit College at St. Omer’s, in 
French Flanders; ordained a priest in 1759; and appointed professor 
of philosophy and theology at Liége. In 1773 he was made Prefect 
of Bruges. Upon the suppression of the Society of Jesus by Pope 
Clement XIV in 1773, the English Jesuits of Flanders went to England, 
accompanied by Father Carroll, who acted as Secretary. He returned 
to America in 1774. In 1784 the Holy See at Rome, after conferring 
with Doctor Franklin and others, decided upon appointing John Carroll 
as superior of the clergy of the United States, and the papal bull appoint- 
ing him first bishop of the United States was issued at Rome, November 
14, 1789. In 1803 he performed the marriage ceremony between 
Jerome Bonaparte (q.v.) and Miss Patterson (q.v.) of Baltimore. On 
September g, 1803, he consecrated the first Catholic church in Boston. 
In 1806 he laid the foundation of the Baltimore Cathedral. In April, 
1808, Baltimore was elevated into an Archiepiscopal See by Pius VII, 
although the new bishops were not consecrated until 1810, owing to 
delay in the arrival of the bulls for their investure and the pallium for 

Archbishop Carroll. He died in Georgetown, District of Columbia. 
Washington, 1804-05. Canvas (s), 29x24 inches. Half-length, seated, three- 
quarters to the left, with his gray-blue eyes directed to the spectator. He has a 


fresh complexion and his hair is gray. He is wearing a dark gray robe with a gold 
cross and chain on his breast. His left hand, with a lace cuff at the wrist, is holding 


203 


ARCHBISHOP JOHN CARROLL 


a breviary into which the index is thrust. It is interesting to note that again, in 
this instance, Stuart painted only three fingers and a thumb to a hand. In the back- 
ground isa red curtain draped back by means of a gold cord and tassel, revealing at 
the left some bookshelves with books in bindings of a soft neutral color. 

This portrait was painted at the request of Robert Barry, an Irish gentleman, at 
whose house in Baltimore Archbishop Carroll was a frequent guest. After the 
death of Mr. Barry the portrait was sold to Lloyd Nicholas Rogers of Druid Hill, 
near Baltimore. In 1879 it was owned by Mrs. J. M’D. Goldsborough of Easton, 
Maryland. In 1895 it was presented to the Georgetown College, Washington, 
District of Columbia, by Judge P. Ord. 


ENGRAVED— 1872, Vol. I, frontispiece. 

For “Biographical Sketch of the Most Rev- REPRODUCED, in half-tone, in “Social Life 
erend John Carroll,” by John Carroll in the Early Republic,” by A. H. Whar- 
Brent, Baltimore, 1843. ton, 1902, facing page 84. 

By R. Dudensing for “Lives of the De- A copy is owned by H. P. Chilton, Esq., at 
ceased Bishops of the Catholic Church in Stoke Farm, Oyster Bay, N. Y. 


the United States,” by Richard H. Clarke, C. S. Bradford, photo., copyright. 
[ Zllustrated | 


(144): 
MRS. SAMUEL CARY 


L735 O2s 

HE was Sarah, daughter of Ellis and Sarah (Tyler) Gray of Boston. 

She married in 1772 Samuel Cary (1742-1812) of Chelsea, 
Massachusetts, who had large estates in Grenada, West Indies, and she 
and her husband lived in Grenada from 1773 until 1791. In the latter 
year he returned to Chelsea, where he remodelled the Cary homestead 
ata cost of $12,000, and made it one of the most attractive of the country 
places in the vicinity of Boston. Negro insurrections on his plantations 
inGrenada in 1795 destroyed much of his property there,and during the 
last years of his life he had to accommodate himself to new conditions. 


204 


MRS. SAMUEL CARY 


Mrs. Cary died in Chelsea in 1825. Mr. Cary and his wife are the subjects 
of very beautiful miniatures by Copley at the time of their marriage. 
They had thirteen children, and their daughter Sarah married Reverend 
Joseph Tuckerman (q.v.). 


Boston, 1819. Panel, 2634 x 21% inches. Half-length to just below her waist, 
seated in low-backed chair upholstered in red, three-quarters left, with light 
brown eyes to the spectator. Her complexion is fresh and clear, and she wears a 
white muslin cap with ruffles and a grayish bow, which entirely conceals her hair. 
About her neck isa white neckcloth tied in a bow under her chin, and a black high- 
waisted dress, with a low, V-shaped opening in front, filled in with white muslin. 
The waist is confined by a narrow black ribbon. A black lace shawl] covers the left 
lower arm and, falling over the right shoulder, rests upon her right hand, which 
holds a pair of spectacles, and lies upon a large closed book. The background is a 
light greenish-gray, with a pilaster behind the head. The picture is signed in the 
lower left corner on the cover of the book: “Gt. Stuart.” 

Mrs. Cary, writing to her son Henry from Chelsea, March g, 1819, says: “Our 
friend Stewart has still his last touch to give to the picture notwithstanding the 
handsome and polite messages you have sent him, which have not however been lost 
upon him. He has great sensibility, and appreciates very highly the opinion of 
people of discernment; but, poor man, he has been afflicted with both asthma and 
gout, and what is worse, procrastination.” 

At Mrs. Cary’s death her portrait passed to her son, Henry Cary (1785-1857), 
by whom it was bequeathed to his sisters, Margaret (1775-1868) and Anne 
Montagu (1787-1882) of Chelsea, and at the death of the latter was inherited by 
her niece, Emma F. Cary (d. 1916), who bequeathed it to Georgina S. Cary, with 
provisions that “at her death the portrait was to go to Charles Pelham Curtis, and 
if he is dead, then to his son, Charles Pelham Curtis” of Boston, who now owns it. 


A copy, made in 1919 by Alexander James of Boston, is owned by Miss Emily Tuckerman. 


Edward J. Moore, photo. 
| Zllustrated | 


205 


( 145 )s 
WALTER CHANNING 


DF Gye k ts 7 
ALTER CHANNING was a member of the firm of Gibbs & 
¥ Channing of Newport, Rhode Island. In 1798 he married 
Hannah Smith (q.v.) of Charleston, South Carolina, who had come over 
from England about 1793. 


Boston, c. 1820. Panel, 26x22 inches. He is shown half-length, seated three- 
quarters right, with his hazel-brown eyes to the spectator. His curly reddish-brown 
hair is very thin on top of his head. He wears a standing white collar, white neck- 
cloth, tie, and white waistcoat showing above his high-collared blue-black coat 
with brass buttons. The background at the left is brown, and at the right dark red. 

This portrait, together with that of Mrs. Walter Channing, was inherited by his 
granddaughter, Laura Pell, wife of George Pemberton Bangs, of New York, and 
at her death in 1873 passed to her husband. At his death in 1894 the portraits were 
inherited by his daughters, Mrs. Gardner Perry and Miss Edith Bangs of Boston. 


Loaned to the Museum of Fine Arts, Boston, from 1923 to date. 


[ Zllustrated | 


( 146 )s 


MRS. WALTER CHANNING 
1708-1832 
ORN at Worstead, Norfolk, England; Hannah, daughter of Press 
B and Catherine Smith, was baptized at St. Mary’s Church, April 4, 
1768. (Extract from Parish Register.) In or before 1793 she went to 
Charleston, South Carolina, to live with her father’s brother, Reverend 
Robert Smith, afterwards the first Bishop of South Carolina. On June 3, 
1798, she was married by Reverend Theodore Dehone, Rector of 
Trinity Church, Newport, Rhode Island, to Walter Channing (q.v.) of 


206 


MRS. WALTER CHANNING 


Newport, by whom she had three daughters. The youngest, Ann Eliza- 
beth, born in Newport in 1809, married Hugh Swinton Ball of Charles- 
ton. In June, 1838, while traveling from Charleston to Newport on the 
steamer “Pulaski,” Mrs. Ball and her husband were both killed by the 
explosion of the ship’s boiler. 


Boston, c. 1820. Panel, 26x22 inches. She is shown at half-length, turned 
slightly to the left, with her gray-blue eyes to the spectator. Her auburn hair, 
showing in tight ringlets on her forehead and at sides of her face, is nearly con- 
cealed by a white turban. She wears a high-waisted, white dress with a white rib- 
bon about her waist tied in a bow at the front. A white lace fichu is caught at the 
throat with an oval gold brooch. Over her shoulders, entirely covering her arms, is 
a pale gray-green shawl. The plain background is of reddish-brown tones with a 
pilaster indicated at the right. 

This portrait is now owned by her great granddaughters, Mrs. Gardner Perry 
and Miss Edith Bangs, of Boston. Its history is the same as that of the portrait of 
Walter Channing. 


EXHIBITED— 
At Copley Hall, Boston, Massachusetts, at At the Museum of Fine Arts, Boston, Mas- 
a “Loan Collection of Portraits of Wo- sachusetts, from 1923 to date. 


men,” March 11-13, 1895. 
[ Zllustrated | 


er 47 )s 
REVEREND 
WILLIAM ELLERY CHANNING 

1780-1842 
A SON of William and Lucy (Ellery) Channing of Newport, Rhode 
Island. He was graduated from Harvard College in 1798, and 
married Ruth Gibbs, daughter of George Gibbs (q.v.) of Newport, 
in 1814. He became a distinguished Unitarian divine. His sermons 
strongly illustrated his sympathetic as well as religious feelings towards 


207 


REVEREND WILLIAM ELLERY CHANNING 


philanthropy, moral reform and political ethics, but his general and 
deepest sympathy was with the anti-slavery movement. He wrote exten- 
sively and his numerous papers were published singly, but later, just 
before his death, they were gathered in five volumes (Boston, 1841). 


Boston, c. 1825. Canvas, 292 x 24% inches. He is shown bust, three-quarters 
right, with his small blue eyes directed to the spectator. His curly, dishevelled hair 
is dark brown, as are his sidewhiskers, and his complexion ruddy. He is dressed in a 
black coat over which is worn a black gown with white muslin bands. The plain 
background is of brownish tones. His hands do not show. 

The portrait was owned in 1879 by the Reverend George Gibbs Channing of 
Milton, and in 1913 by Miss Ellen Channing of Cambridge. In 1914 it came into 
the possession of the present owner, Mrs. John Amory Jeffries (Emily Augusta 
Eustis) of Boston, a granddaughter of William Ellery Channing. 

Exursitepat the exhibition of Stuart’s por- 1880, and subsequently in 1914, 1915 
traits, Boston, 1828, No. 209. and 1919. 


At the Museum of Fine Arts in Boston in A copy was owned, in 1915, by Mrs. Henry 
W. Bellows of Boston. 


[ Zllustrated | 


( 148 )s 
QUEEN CHARLOTTE OF ENGLAND 
1744-1818 


HE was Charlotte of Mecklenburg-Strelitz and was married in 
1761 to George ITI, King of England (q.v.). 


London, 1785 to 1788. Canvas, 30)4x24% inches. She is shown bust, with 
her head and light brown eyes turned slightly to the left of the spectator. Her 
powdered hair, in which a string of pearls is entwined, is dressed in curls on top of 
her head and at the neck, two curls resting on her shoulders. She also wears a 
diamond tiara of stars, and pearl earrings, and a necklace of three strings of pearls, 
with one line pendant to which is attached a cross set in diamonds. Her dress is 
pale blue trimmed at the open neck with lace and pearls, and over this she wears 
a light brown cloak bordered with ermine. 


208 


QUEEN CHARLOTTE OF ENGLAND 


Of this portrait the late Charles Henry Hart says: “This portrait, painted from 
life, isa wonderful example of Stuart’s ability as a still-life painter, where he has 
given to the pearls, in a remarkable manner, not only their lustre, but their weight.” 

The history of this portrait, which is owned by Thomas B. Clarke, Esq., of New 
York City, is the same as that of Stuart’s portrait of King George III. 


EXHIBITED at the Union League Club, New York, in January, 1922 (5). 
Not listed in Mason. 
[ Zllustrated | 


( 149 )s 


JUDGE SAMUEL CHASE 
1707-1800 

ORN in Sutton, Massachusetts, a son of Daniel and Sarah (March) 

Chase. He was judge of “Ye Court & Ye County, N. H.” He 
married at Cornish, New Hampshire, Mary, daughter of Samuel and 
Abigail (King) Dudley. When seventy years of age he served in the 
regiment of his son, Colonel (afterwards General) Chase, at Bennington 
and Saratoga. He died at Cornish. 


Mason says: ‘‘Painted in his judicial wig. Wasa very old man when painted.” 
Owned in 1879 by Dudley T. Chase, Claremont, New Hampshire. 


(I 50 )s 
COMMODORE ISAAC CHAUNCEY 
L772-bono 
H: was a son of Isaac Chauncey and was born at Black Rock, Con- 
necticut, in 1772 and died in Washington in 1840. Entered the 


Merchant Service at a very early age and commanded a ship at nineteen. 
On the organization of the Navy he was in 1798 made a Lieutenant, but 


209 


COMMODORE ISAAC CHAUNCEY 


was acting Captain of the “Chesapeake” early in 1802. In 1806 he be- 
came a Captain. At the outbreak of the war in 1812 he was in command 
of the Navy Yard at New York and was appointed to command on all of 
the great lakes except Champlain. From this time until the close of the 
war vessels were built and equipped with unequaled rapidity. In 1813, 
co-operating with the land forces Chauncey captured York, now 
Toronto, and later brought about the evacuation of the whole Niagara 
frontier. He afterwards was placed in charge of the Brooklyn Navy 
Yard, and from 1833 to 1840 was President of the Board of Navy 
Commissioners. 

Boston, c. 1818. Panel, 24x20 inches. He is shown bust, three-quarters left, 
with his blue eyes directed to the spectator. His face is fleshy, with a florid com- 
plexion. His forehead is high, and he has light auburn hair and short sidewhis- 
kers. He is dressed in a dark blue uniform with a high-standing coat collar, the 
collar and lapels trimmed with gold braid; a white waistcoat shows inside of 
his coat, with gold epaulettes and brass buttons on the latter; a black stock, low 
white collar, and white shirt frill. The plain background is of an iridescent cop- 
pery tint, with faint traces of blue through it. His hands are not shown. 

This portrait was given in February, 1842, to the Lyceum of the Brooklyn, 
New York, Navy Yard by Robert Smith, who had been a member of Jefferson’s 


cabinet. It remained there until 1919, when it was placed in the United States 
Naval Academy at Annapolis, Maryland. 


[ Zllustrated | 
( L 45 L )s 


COLONEL JOHN CHESNUT 


1743-1813 
OHN CHESNUT was born in the Valley of Virginia. He was 
brought to South Carolina by his mother and stepfather (Jasper 
Sutton) when he was thirteen years old. At the outbreak of the Revolu- 


210 


COLONEL JOHN CHESNUT 


tion he became attached to the third South Carolina Regiment and 
served as Paymaster with the rank of Captain. He later obtained com- 
mand in the Militia and served during the Georgia campaign. He was 
taken prisoner on the evacuation of Charleston in 1780 and paroled to 
his plantation at Knight’s Hill. Refusing the demand of Lord Ramsden 
to take up arms against his countrymen in August, 1780, he was thrown 
into prison and chained to the floor and bore to his grave the marks of 
the irons upon hisankles. In 1788 he wasa member of the convention to 
frame the Constitution. In 1793-1796 he was member of the State 
Senate and a trustee of the South Carolina College. In 1770 he married 
Sarah Cantey, daughter of Captain John Cantey of Camden, South 
Carolina. (See “South Carolina Historical and Genealogical Magazine,” 
Vols. 11 and 12, pages 243 and 245.) 

Philadelphia, c. 1796-1800. Canvas, 29x24 inches. Half-length, turned 
three-quarters to the left, with his arms crossed. His gray hair is worn in a queue 
bow and his eyes are directed to the spectator. He wears a black coat, white neck- 
cloth and ruffled shirt. The crimson curtain at the back is draped at the left, dis- 
closing sky and clouds. 

This portrait was inherited by his son, Colonel James Chesnut (q.v.) of 
Camden, South Carolina, and at his death in 1866 by his grandson, David Roger- 
son Williams (1822-1907) of Camden. It then passed to his son, David Rogerson 


Williams of Camden, who sold it through the Macbeth Galleries of New York to 
Herbert L. Pratt, Esq., of New York City and Glen Cove, Long Island. 


Exu1BirTep at the exhibition of Early Amer- cember 13, 1913. 
ican Paintings, at Brooklyn Museum, Feb- In half-tone, in catalogue of the Brooklyn 
ruary 3 to March 12, 1907, No. 91. exhibition, 1917, facing page 83. 
REPRODUCED— Not listed in Mason. 
In half-tone, in “Ancestral Records and Listed in Fielding, No. 28. 
Portraits,” 1910, Vol. I, facing page 24. A copy, artist unknown, is owned by Miss 
In half-tone, in American Art News, De- H. M. Hane, Columbia, South Carolina. 
[ [llustrated | 


211 


( 152 )s 
COLONEL JOHN CHESNUT 


1743-1813 

Philadelphia, c. 1796-1800. Canvas, 29x24 inches. This is a replica of the 
preceding portrait. 

It was inherited by Colonel Chesnut’s daughter-in-law, Mrs. James Chesnut 
(q.v.), who bequeathed it to her niece, Mrs. Edward M. Boykin. The latter left 
it to her daughter, Mrs. Norton Wilson, from whom it passed to a nephew’s wife, 
Mrs. Edward Boykin of Charleston, South Carolina. She sold it in 1919 through 
the Macbeth Galleries of New York to the present owner, John F. Braun, Esq., 
of Philadelphia. 


ExursiTep at the Charleston Exhibition, 1901, by Mrs. Norton Wilson. 
Not listed in Mason. 


( 153 )s 


COLONEL JAMES CHESNUT, SR. 
1773-1866 


yes CHESNUT was the son of Colonel John (q.v.) and Sarah 
(Cantey) Chesnut of Camden, South Carolina. He married in 1796 
Mary Cox (q.v.) of Philadelphia, Pennsylvania. 


Philadelphia, c. 1800. Canvas, 29x 24 inches. Half length, seated in an arm- 
chair upholstered in maroon, turned half-way to the right, with his brown eyes 
directed at the spectator. His dark brown hair is tied with a queue bow and he wears 
a dark blue coat with velvet collar and brass buttons, a white waistcoat, neckcloth 
and bow tie. His hands do not show. The background consists of an architectural 
column behind which a maroon curtain is draped in such a way as to reveal a cloudy 
sky at the right. 

This portrait was inherited by his grandson, David Rogerson Williams (1822— 
1907) of Camden, South Carolina, at whose death it passed to his son, David 
Rogerson Williams of Camden, who sold it in 1913 through the Macbeth Gal- 
leries of New York to Mrs. Dean Sage (died 1915) of Albany, New York, from 


Z12 


COLONEL JAMES CHESNUT, SR. 


whom it passed to her daughter, Elizabeth Sage, wife of Meredith Hare, Esq., of 
New York City and Huntington, Long Island. 


REPRODUCED— In half-tone, in “Ancestral Records and 
In half-tone, in “A Diary From Dixie,” by Portraits,” 1910, Vol. I, facing page 30. 
Mary Boykin Chesnut, 1905, facing page Not listed in Mason. 
390. Listed in Fielding, No. 26. 
[ Zllustrated | 


"(C154 ) 
MRS. JAMES CHESNUT 


1775-1864 
Mi COX, daughter of Colonel John and Esther (Bowes) Cox 
of Philadelphia and Bloomsbury, New Jersey. She married in 
1796 James Chesnut (q.v.) of Camden, South Carolina. 


Philadelphia, c. 1800. Canvas, 29 x 24 inches. She is shown half length, seated 
in a gilt wooden armchair upholstered in maroon, turned half-way left, with her 
dark blue eyes directed at the spectator. Her luxuriant and wavy hair is dark brown. 
She wears a low-cut white satin dress, trimmed at the neck with a narrow frill. 
The sleeves, which come almost to the elbow, are finished with a frill of lace, and 
around her waist is a girdle. Both of her hands rest in her lap. The center of the 
background is filled by an architectural column behind which a maroon curtain is 
draped in such a way as to reveal a low horizon and a cloudy sky at the left. 

Her portrait descended to her daughter, Esther Serena Chesnut (1797-1822), 
who married John Nicholas Williams in 1820, and then to their son, David Roger- 
son Williams. At his death in 1907 the portrait was inherited by his son, David 
Rogerson Williams, who sold it in 1913, through the Macbeth Galleries of New 
York, to Mrs. Dean Sage (died 1915) of Albany, New York, from whom it 
passed to her daughter, Elizabeth Sage, wife of Meredith Hare, Esq., of New 
York City and Huntington, Long Island. 


REPRODUCED— In half-tone, in “Ancestral Records and 
In half-tone, in “A Diary From Dixie,” by Portraits,” 1910, Vol. I, facing page 30. 
Mary Boykin Chesnut, 1905, facing page Not listed in Mason. 
310. Listed in Fielding, No. 27. 
[ Illustrated | 


Zu 


(I 55 )s 
1768-18 36 

EAN LOUIS LEFEBVRE ANNE MADELEINE DE CHEVE- 

RUS of Mayenne, France. He was ordained in 1790 and went to 
England in 1792. In 1796 he offered himself for the American Mission 
and sailed for Boston, where he endeared himself equally to both Cath- 
olic and Protestant. In 1803 he founded, in Boston, the Church of the 
Holy Cross, principally aided by Protestant subscription, and in 1810 
was consecrated the first Bishop of Boston. In 1823, because of failing 
health, he returned to France, and was nominated to the See of Mon- 
tauban by Louis XVIII. He was afterwards Archbishop of Bordeaux, 
Peer of France, under Charles X, and made a Cardinal at the request of 
Louis Philippe. He died at Bordeaux. 

Boston, 1823. Canvas, 3636x28% inches. He is shown half-length, seated 
three-quarters left, ina gilded Empire armchair. He wears a slate-colored silk cape 
lined with red, with a collar, from which is suspended the gold cross on his breast, 
both cape and collar being edged with red binding; a white shirt and long sleeves 
with red cuffs, over which is a white lace cuff; white neckcloth and wrist ruffles. 
His right hand is slightly raised with the fingers partially opened as if giving bene- 
diction, and on the third finger is a ring with a red stone. His left elbow rests on the 
chair arm, and the index finger of his left hand is thrust into the pages of a book 
lying on his lap. A golden-brown curtain is draped at the top and center with the 
base of a column showing behind it. The background consists of a blue sky with 
clouds at the left, and below a table covered with a red cloth on which lies a closed 
book. At the right isa plain brown wall. 

His portrait was painted for Mrs. John Gore (q.v.) when she learned that he 
was about to leave Boston for France. From her it was inherited by her daughter, 
Eliza Ingersoll Gore, wife of Horatio Greenough of Boston. It then passed to her 


daughter, Charlotte Gore (Greenough) Hervoches du Quillion of La Tour de 
Peilz, Switzerland, who in 1921 bequeathed it to the Museum of Fine Arts, Boston. 


EXxHIBITED— At the Centennial Exposition in Fairmount 
At the exhibition of Stuart’s portraits, Bos- Park, Philadelphia, in 1876, by Mrs. 
ton, 1828, No. 109. Horatio Greenough. 


214 


JOHN CHEVERUS 


At the Museum of Fine Arts, Boston, in A copy, made by Louisa Greenough, is now 


1880. owned by Miss Sarah J. F. Johnston of 
Encravep by Kilburn for Winsor’s “Me- Dorchester, Massachusetts. 

morial History of Boston,” 1881, Vol. Nore: For an account of Cheverus and his 

III, page 518. portraits see Boston Monthly Magazine, 
REPRODUCED, in half-tone, in Bulletin of Boston, 1825, Vol. I. 


the Museum of Fine Arts, Boston, April— Edward J. Moore, photo. 


June, 1921, page 39. 
[ Zllustrated | 


+( 156 )< 
WARD CHIPMAN 


175 aL OA 

ARD CHIPMAN was a son of Reverend John and Elizabeth 

(Brown) Chipman of Marblehead, Massachusetts. He was a 
graduate of Harvard College in the class of 1770. A loyalist, he removed 
to New Brunswick, where he became secretary to Sir Guy Carleton, and 
in 1784 commissary-general at Quebec. He married at St. John in 1786 
Elizabeth Hazen (d.1852) of St. John. He was a very prominent man 
in Canada, and at various times held the office of member of the House 
of Assembly, advocate-general, solicitor-general, justice of the Supreme 
Court of New Brunswick, member of the Council, president and com- 
mander-in-chief of the province. He was a brother of Mrs. William 


Gray (q.v.). 


Boston, c. 1808. Panel, 2512x217 inches. Bust, three-quarters right, with 
dark grayish-blue eyes to spectator. A plump face with ruddy complexion. His 
head, almost bald, shows over the ears a little sandy hair which is beginning to turn 
gray at the temples. He wears a white neckcloth, frilled shirt front, and a black 
coat, buttoned, with a high collar. A portion of the back of the chair in which he 
sits, upholstered in red, appears in the lower left corner of the picture. The back- 
ground is plain, and of dark olive tones. 

At Judge Chipman’s death the portrait passed to his son, Ward Chipman, Jr. 


215 


WARD CHIPMAN 


(1787-1851) of St. John, and at his death, to his widow. When she died in 1876, 
it was sold by her executor to the Honorable Horace Gray (1828-1902) of Boston, 
whose father was a first cousin of Ward Chipman, Jr., and who in turn bequeathed 
it to his half-brother, John Chipman Gray (1839-1915) of Boston. At the latter’s 


death it passed to his widow. 
[ Zllustrated | 


( 157 )s 


MRS. WARD CHIPMAN 
Died 1852 


| Ehret ene HAZEN, of St. John, New Brunswick. She mar- 
ried in 1786 Ward Chipman (q.v.). 


Mason lists her name, but I have not succeeded in locating such a portrait. 


( 158 )s 


WARD CHIPMAN, JR. 
1786-1851 


H: was the the only child of Ward and Elizabeth (Hazen) Chipman 
of St. John, New Brunswick. He was a graduate of Harvard Col- 
lege in the class of 1805, and in 1836 he received from that institution 
the degree of LL.D. He became justice and then chief-justice of the 
Supreme Judicial Court of New Brunswick, and retired in 1850. He 
married at St. John in 1817 Elizabeth Wright (d. 1876) of St. John, but 
had no issue. 


Boston, c. 1808. Panel, 2534x21%% inches. He is shown bust, three-quarters 
left, with his dark blue eyes to the spectator. His face is fleshy with a ruddy 
complexion, and his brownish-red hair is brushed forward in long wavy strands 


216 


WARD. CHIPMAN, JR. 


over a high forehead already bald. He wears a white neckcloth tied in a bow and a 
frilled shirt. The dark blue coat is high-collared, with large brass buttons and suf- 
ficiently opened at the neck to show the edges of a light yellow waistcoat. The 
background is plain and of brownish-olive tones. 

His portrait was inherited at his death by his widow, and was at her death sold by 
her executor to Judge Horace Gray (1828-1902) of Boston, who bequeathed it to 
his half-brother, John Chipman Gray (1839-1915) of Boston, from whom it 


passed to his widow. [Tllustrated ] 


( 159 )s 
GENERAL MATHEW CLARKSON 
1758-1825 


SON of David Clarkson, Junior, and his wife, Elizabeth French. 
He married, first, in 1785, Mary, daughter of Walter and Cath- 
erine (Alexander) Rutherfurd (d.1786); second, in 1792, Sally, 
daughter of Samuel and Susan (Mabson) Cornell (d. 1803). He enlisted 
as a private in 1775; in 1777 was made aide-de-camp to General Bene- 
dict Arnold; 1779 aide-de-camp to General Benjamin Lincoln; partici- 
pated at the siege of Yorktown, being present at the surrender of Corn- 
wallis. At a later period he was given a major-general’s commission in 
the State Militia; and was also president of the Bank of New York for 
twenty-one years. He was one of the first promoters of our free school 
system; for forty-one years one of the Regents of the University of the 
State of New York; for thirty years governor of the New York Hospital; 
one of the founders and vice-presidents of the American Bible Society. 
His name is associated with the foundation of nearly all the early philan- 
thropic societies of New York. 


New York, 1793 or 1794. Canvas, c. 36x 28 inches. He is shown half-length, 
standing, body almost in profile to the spectator’s left, head three-quarters left, and 


2) 


GENERAL MATHEW CLARKSON 


with his brown eyes directed to the spectator. His complexion is ruddy, and he 
wears a powdered wig with a black queue. He is dressed in a uniform of a dark 
blue coat with a buff collar, lapels, and facing of coat and cuffs, the latter with 
large gold buttons; a white neckcloth and frill; white muslin ruffles; and gold 
epaulettes. Both his arms are extended in front of his body, his left hand holding 
a black chapeau and resting on the right, which in turn rests lightly upon the hilt 
of a sword. The order of the Cincinnati, suspended by a blue and white ribbon, 
hangs from a button-hole of the left coal lapel. The background consists of smoke- 
colored clouds and blue sky. 

His portrait was inherited by his son, David Clarkson (1795-1867), passed to 
his son, Mathew Clarkson, and then to his son, Banyer Clarkson, Esq., of New 
York City, the present owner. 


ENGRAVED, on steel, in 1886, for private 
distribution, and reproduced in John 
Schuyler’s “The Society of the Cincinnati 
in New York,” page 173. 

ReEpRroDUCED in Bowen’s “Centennial of 
Washington’s Inauguration,” 1892, fac- 
ing page 160. 

A Copy— 


son and an amateur artist, was owned by 
Miss E. C. Jay; 

By James Frothingham, was owned by Doc- 
tor John Clarkson Jay; 

By Samuel L. Waldo, isowned by the Misses 
Julia Jay Pierrepont and Anna Jay Pierre- 
pont of Brooklyn. 

Trumbull copied the head for his portrait 


of Clarkson in his “Surrender of Bur- 
goyne.” 


[ Zllustrated | 


By Mrs. Peter A. Jay, a daughter of Clark- 


-( 160 


EUSEBY CLEAVER 
1740-1819 


SON of the Reverend William and Martha (Lettice) Cleaver of 
Twyford, County Buchs. He was graduated from Oxford, M.A. 

in 1770; D.D. in 1783, and was elected Lord Bishop of Cork and Ross 
in 1789, and translated in the same year to Leighlin and Ferns; Lord 
Archbishop of Dublin from 1809 to 1819. In 1788 he married Cathe- 


218 


EUSEBY CLEAVER 


rine, daughter of Owen Wynne of Sligo. She died at Fulham in 1816, 
and sheand her husband are both buried there. 


ENGRAVED, in mezzotint, by J. Grozer, in Not listed in Mason. 
1790. (J. Chaloner Smith, No. 6.) Listed in Strickland. 


-( IOI ): 


THOMAS CLEMENT, SENIOR 


Lapis bebe 

H* was a son of ‘Thomas and Abigail (Miller) Clement of Boston 

and Milton, Massachusetts. He married in 1764 Elizabeth 
Andrews Mitchell. He was an architect and builder of wealth and influ- 
ence in Boston, and lived on the corner of Summer and Sea Streets. He 
also had a country place on the shore of a large pond in Reading, Massa- 
chusetts. He was for many yearsa Proprietor of King’s Chapel, where he 
owned pew No. 38 from 1766 to 1785; he wasa Vestryman from 1783 
to 1801; he wasalsoa Trustee of the Massachusetts Charitable Mechan- 
ics’ Association; and in 1785 was one of the twenty gentlemen who 
voted in favor of changing the liturgy for use in King’s Chapel. He was 
buried in his tomb beneath that church. 


Boston, c.1815. Panel, 2634x2138 inches. He is represented bust, three- 
quarters left, with his grayish-brown eyes directed to the spectator. His complexion 
is ruddy, and his expression genial and kindly. His white hair is brushed back from 
his forehead, completely covers his ears, and is tied in a bow. He wears a loose white 
neckcloth tied in a small bow, and a greenish-slate colored coat and waistcoat. The 
background is plain and of a rich mahogany color. 

_ His portrait was given by his daughter, Mary Clement (178 5—1883) of Boston, 
the last survivor of his family, to the Boston Athenzeum, about 1880. 


Not listed in Mason. Listed in Fielding, No. 30. 
[ Illustrated | 


219 


-( 162 


SIR HENRY CLINTON 
1738-1795 


Canvas, original size of oval, 20x 16 inches, which has been put on a 30x25 


canvas. 
Owned by Albert Rosenthal of Philadelphia, who acquired it in London in 


1906. 


EXHIBITED at the Art Museum, Cleveland, Ohio, in 1916 and 1917. 
Not listed in Mason. 


( 16 3 ) 
LADY CHARLOTTE CLIVE 


Mason lists her name and says that the picture is in England. 


-( 164 ): 
VISCOUNT CLONMELL 


1739-1798 


OHN SCOTT, first Earl of Clonmell, son of Thomas and Rachel 
(Prim) Scott of Urlings, County Kilkenny, Ireland. Was graduated 
from Trinity College, Dublin, in 1760; called to the bar in 1765; K. C. 
in 1770; solicitor-general in 1774. In 1784 he was created Baron 
Earlsfort; Viscount Clonmell in 1789; and Earl of Clonmell in 1793. 
In 1768 he married, first, Catharine Anna Maria (died 1771), widow of 


220 


VISCOUNT CLONMELL 


Philip Roe, and sister of Francis Mathew, first Earl of Llandaff. In 1779 
he married, second, Margaret, daughter of Patrick Lawless, and niece 


of first Lord Cloncurry. 


Canvas, 28 x 23 inches, oval. 
Owned by the Earl of Normanton, Somerley, Ringwood, Hants, England. 


Not listed in Mason. 
Listed in Strickland as by Stuart, and as painted in Dublin, 1790. 


( 165 ): 


MRS. HENRY CLYMER 
1770-1852 


ARY WILLING, daughter of Thomas (q.v.)and Ann (McCall) 

Willing of Philadelphia. She married in 1794 Henry Clymer 
(1767-1830), son of George Clymer, one of the signers of the Decla- 
ration of Independence. 


Philadelphia, 1797. Canvas, 29x26 inches. She is shown at half-length, 
turned half-way to the left, seated in a large gilt armchair, upholstered on the 
outside in crimson velvet and on the inside with crimson damask, and studded with 
brass-headed nails. She isa pale brunette with powdered curly hair and large hazel 
eyes. Tradition has it that in order to give her portrait more color, her sisters tied 
on her head an East India plaid cotton turban of yellow with light green stripes in 
a tartan-like design. She wears a high white muslin dress with long sleeves and 
sash, a pleated ruffle around her neck, underneath of which is a dark olive-green 
scarf, tied ina bow. There are also narrow ruffles on her sleeves above the elbows 
and at the wrists. Her hands are crossed in her lap and in her left she holds a book, 
into the leaves of which her thumb is thrust. The book is bound in tree-calf and 
has a red title label. In her left ear may be seen a gold ring. The plain background 
is in shades of dark brown. 

The portrait is now owned by Alexander Grant, Esq., of Rome, Italy, who 
inherited it from his mother, Mary Clymer, a granddaughter of Mrs. Henry 


Clymer. [ Zilustrated | 


221 


-( 166 >: 


Lg) Oslo 
Philadelphia, 1797. A replica of the preceding portrait. 
It was owned by her daughter, Mary Willing Clymer of Trenton, New Jersey, 
who left it to a nephew, and he in turn bequeathed it to his sister, Mrs. ‘Thomas 
F. Bayard of Washington, District of Columbia, the present owner. 


It seems that this is the portrait listed in Mason, while the previously described 
picture is the one Mason was unable to locate. 


-( 167 )- 
MR. COBB 


Painted in Ireland, according to Mason. 


-( 168 )- 
MRS. COBB 


Painted in Ireland, according to Mason. 


‘( 169 ): 


GENERAL DAVID COBB 
1748-1830 
AVID COBB wasa son of Colonel Thomas and Lydia (Leonard) 
Cobb of Attleborough, Massachusetts. He was graduated from 
Harvard College in 1766; studied medicine but although he practiced 
his profession, it was subsidiary to his interests in public affairs. He set- 
tled in Taunton, Massachusetts. Served throughout the Revolutionary 


222 


GENERAL DAVID COBB 


War with distinction. In 1766 he married Eleanor Bradish (1749- 
1808) of Cambridge, Massachusetts. He was appointed major-general 
of militia; judge of Court of Common Pleas for Bristol County, Massa- 
chusetts; representative in Congress, 1793-95; removed in 1796 to 
Maine and became chief justice of Hancock County, Court of Common 
Pleas. In 1820 he returned to Massachusetts. Was lieutenant-governor 
of Massachusetts and president of the Senate of Massachusetts. Shortly 
before his death he requested to be taken to the Massachusetts General 
Hospital in Boston, in which institution he was much interested, and 


there he died. 


Boston, c. 1820. Panel, 2814 x 2234 inches. He is shown bust, turned half-way 
to the left. He has a ruddy complexion and powdered hair, and his grayish-hazel 
eyes are directed at the spectator. He wears a black coat and white neckcloth. A 
dark red curtain fills most of the background, draped in such a way as to reveal the 
base of an architectural column of grayish-brown stone and a cloud-flecked blue 
sky at the extreme left. 

The portrait was painted for his son-in-law, Judge Samuel Sumner Wilde 
(1771-1855), who left it to his daughter, Anne Sumner Wilde (1809-c. 1873), 
wife of Robert Farley, from whom it passed to her nephew, George Frederick 
Wilde (1831-1900), who bequeathed it to his daughter, Miss Julia Cabot Wilde 
of New York City, the present owner. 


ExHIBITED— cal Society, January 14, 1854, by Robert 
At Museum of Fine Arts, Boston, 1880, and Treat Paine of Boston, and presented to 
again from 1907 to 1909. the Society by him in 1883. This copy by 
At Loan Collection of Portraits at Centen- Harding is mentioned by Mason as an 
nial Celebration of Washington’s Inaug- original Stuart. 
uration, New York, 1889 (83). Another copy, by Edgar Parker, was pre- 
ENGRAVED— sented to the Commonwealth of Massa- 
By Edwin, Polyanthos, 1812; 1:225. chusetts in 1882 by Samuel C. Cobb. This 
By H. Wright Smith, New England His- copy is in the State House at Boston. 
torical and Genealogical Register, 1864, Another copy is owned by George Nixon 
£0253 Black, Esq., of Boston. 
A copy, painted by Chester Harding, was Courtesy, Frick Art Reference Library, New 
deposited with the Massachusetts Histori- York City. 
[ Illustrated | 


2.23 


( 170 »)s 
CAPTAIN GEORGE COCKBURN 


1763-1847 

| E was the eldest son of George and Amelia (Caldwell) Cockburn 

of Dublin. In 1782, during the siege of Gibraltar, he was aA.D.C. 
to General Elliott, and in 1790 he married Eliza, daughter of Phineas 
and Catherine (Caldwell) Riall of Clonmell, who was his first cousin. In 
April, 1810, he was appointed to the command of a division in the army 
of occupation in Sicily and took charge of Messina. On his return, he 
published two elaborate and illustrated volumes on “A Voyage to Cadiz 
and Gibraltar, up the Mediterranean to Sicily and Malta in 1810 and 
1811.” He then retired to his seat of Shanganagh Castle near Bray, 
County Wicklow, where, after devoting himself to politics and writing, 
he died at the age of eighty-four, as fourth general in seniority in the 
British Army. 

Dublin, c. 1788. Canvas, 30x25 inches. He is shown in an oval, painted on a 
rectangular canvas, bust, three-quarters right, with his light brown eyes directed 
with a searching glance at the spectator. His wig is powdered and his complexion 
ruddy. He wearsa scarlet uniform with silver trimmings, the coat collar upturned 
over a black stock, below which is a white starched frill. Across his breast from his 
right shoulder is a white sword strap, the lower end of which is concealed by his 
black and green feathered hat. The background is of a brownish-plum tone. 

The portrait passed to his daughter, Catherine, wife of G. W. Rowan Hamilton 
of Killyleagh Castle, County Down, and from her to her grandson, Colonel Gavin 


William Rowan Hamilton of Killyleagh, from whom it was bought by Messrs. M. 
Knoedler & Co. of New York in 1924. 


Not listed in Mason. 
Courtesy of Messrs. M. Knoedler & Co., New York. 


[ Zllustrated | 


224 


( 171 )s 
CHARLES RUSSELL CODMAN 
iy S45 52 


SON of the Honorable John and Margaret (Russell) Codman of 
Boston. He married, first, in 1825, Anne Macmaster (1797 - 
1831), and second, in 1836, Sarah Ogden (1799-1844), both wives 
coming from New York. He had four children by his first wife, two of 
whom died in childhood, as did also a fifth child by his second wife. 


Boston, c. 1809. Panel, 31x2434 inches. He is shown bust, seated, three- 
quarters right, with his brownish-gray eyes directed to the spectator. His curly 
hair and sidewhiskers are brown, and his complexion is ruddy. He wears a white 
standing collar, white neckcloth and shirt frill, and a high-collared brown coat. 
The plain background is of neutral gray tones, and a bit of the red chair-back 
shows behind his right shoulder. 

His portrait was inherited by his son, Charles Russell Codman of Boston, and 
then by his son, the present owner, Russell S. Codman, Esq., of Boston. 


( ise »)s 
CHARLES RUSSELL CODMAN 
1784-1852 


Boston, c. 1815. Canvas, 352x28% inches. This portrait of Mr. Codman 
was painted about five years later than that previously mentioned. It represents 
him seated in a gilt Empire armchair, upholstered in old rose, his face and body 
turned nearly front, with his bright blue eyes directed to the spectator. His hair 
and sidewhiskers are brown and his complexion is florid. His right arm is thrown 
over the back of the chair, and his hand lightly grasps the chair arm. In front of 
him isa table covered with a red cloth, upon which are two leather-bound volumes, 


225 


CHARLES RUSSELL CODMAN 


and some sheets of paper. He wears a black coat, buttoned, a white neckcloth and 
frilled shirt. The background is plain and of a warm grayish-brown. 

The portrait was owned by his older brother, the Reverend John Codman 
(d. 1847), who left it to his nephew, James Macmaster Codman (1831-1917) 
of Brookline, Massachusetts, a son of the sitter, from whom it passed to his son, 
James Macmaster Codman of Brookline, at whose death in 1925 it was inherited 
by his sister, Mrs. Cora Codman Ely of Brookline. 


EXHIBITED at the Museum of Fine Arts, Boston, in 1880. 


[ Illustrated | 


( 173 )s 
ADMIRAL SIR ISAAC COFFIN 


1759-1839 

SON of Nathaniel and Elizabeth (Barnes) Coffin of Boston. He 
A entered the British Navy in 1772 as a Midshipman “and rose, by 
bravery and courage displayed on various occasions, to the rank of rear- 
admiral.” In 1804 he was created a baronet. In 1818 he entered Par- 
liament as a member from IIchester, England. He married in 1811 
Elizabeth Browne Greenly of Titley Park, Herefordshire. He died at 
Cheltenham, England, and left no descendants. 


Boston, c. 1810. Panel 33x26) inches. He is shown three-quarters right, 
his face nearly front, with his dark blue eyes directed to the spectator. He wears a 
dark blue coat, trimmed with gold braid, with large brass buttons and epaulettes. 
His collar and frilled shirt are white, but the stock, which shows under his chin, 
is black. His waistcoat, with small brass buttons, is creamy white. His hair is 
powdered and worn in a queue, and his complexion is bronzed rather than ruddy. 
His hands come together in the extreme lower right-hand corner of the picture, his 
right hand resting upon his left, which holds, and rests upon, the hilt of a sword. 
The background is plain, and is dark at the top and light at the bottom. 

His portrait came into the possession of his cousin, Thomas Coffin Amory 
(1767-1812) of Boston, and then of his widow, who had it for many years in her 


226 


ADMIRAL SIR ISAAC COFFIN 


house on Franklin Place, Boston. At her death in 1845 it passed to her son, 
William Amory (1804-1888) of Boston, and then to his son, Charles Walter 
Amory (1842-1913) of Boston. At his death it became the property of his 
brother, Francis Inman Amory of Boston, and at his death it passed to his nephew, 
William Amory Gardner of Groton, Massachusetts. 

According to the Honorable Nathan Matthews the portrait was at one time 
owned by the father of Ingersoll Amory. 


ExHIBITED— Boston,” 1880-81, Vol. IV, page 3. 
At the exhibition of Stuart’s portraits, Bos- A copy, made by Horace R. Burdick, is 
ton, 1828, No. 7. owned by Nathan Matthews, Esq., of 
At the Museum of Fine Arts, Boston, 1880. Boston. 
ENGRAVED, on wood, by Kilburn and repro- Courtesy, Frick Art Reference Library, New 
duced in Winsor’s “Memorial History of York City. 
[ Zllustrated | 


eae 
DOCTOR NATHANIEL COFFIN 
1744-1825 

SON of Doctor Nathaniel and Patience (Hale) Cofhn of Portland, 
Maine. In 1763 he went to England and studied medicine in 
Guy’s and St. Thomas’s Hospitals in London. Returning to Portland in 
1765 he soon became an eminent surgeon. He was the first president of 
the Maine Medical Society, and Bowdoin College conferred on him the 
honorary degree of M.D. in 1821. In 1769 he married Eleanor Foster 

(q.v.) of Charlestown, Massachusetts. ) 


Boston, c. 1820. Panel, 28x22 inches. He is shown bust, three-quarters left, 
with his light blue eyes directed to the spectator. His hair and short sidewhiskers 
are white, and his complexion very ruddy. He wears a white neckcloth tied in 
a small bow, and his shirt front is exposed. His high-collared coat is a brownish- 
black. The background is plain, a rich, dark brownish-red at the left, lightening at 
the right to a warm olive tone. 


Inherited by his daughter Eleanor, wife of John Derby (d. 1831) of Salem, 


227, 


DOCTOR NATHANIEL COFFIN 


Massachusetts, the portrait passed at her death to her son, George Derby (d. 1874) 
of Boston, and then to his widow, and at her death to their son, Doctor William 
Parsons Derby of Cambridge, Massachusetts. The latter sold it in 1920 to his 
cousin, Mrs. Greely S. Curtis (1841-1923) of Boston, from whom it passed to her 
daughter, Miss Harriot Sumner Curtis of Manchester, Massachusetts. 


ExnrsitTepat the exhibition of Stuart’s por- A copy is owned by the heirs of Doctor Cof- 
traits, Boston, 1828, No. 102. fin’s great-granddaughter, Mrs. Greely S. 
LirHocraPHeEpD by Pendleton for Thach- Curtis of Boston. 


er’s “American Medical Biography,”1828, 
Vol. I, page 229. 
[ Zllustrated | 


( 175 )s 


MRS. NATHANIEL COFFIN 
1740-1822 


| Dimer FOSTER, daughter of Isaac and Eleanor (Wyer) 


Foster of Charlestown, Massachusetts. She married in 1769 
Doctor Nathaniel Coffin (q.v.) of Portland, Maine, where the re- 
mainder of her life was passed. 


Boston, c. 1815. Panel, 2714x2134 inches. She is shown bust, three-quarters 
right, with her dark blue eyes directed to the spectator. Her rather fleshy face is 
kindly and benign in expression, and her complexion fair and pinkish. She is seated 
in an Empire armchair upholstered in dark red, and wears a seal-brown silk dress, 
cut low and filled in at the neck with very thin white lawn edged at the throat with 
white ruffles. Over both shoulders is a creamy white camel’s hair shawl with a 
decorated border showing, which completely covers both arms. Her hands, which 
lie in her lap, are not shown. On her head she wears a white muslin cap trimmed 
with ruffles and tied at the back with a bow, and on her forehead appear curls of 
light brown hair. The background is plain and dark, and of uniform warmth. 

Inherited by her daughter Harriot (1775-1862), wife of Jesse Sumner 
(1763-1847) of Boston, it passed successively to their daughter, Harriot Coffin 
Sumner (1802-1867), wife of Nathan Appleton (1779-1861) of Boston, then 


228 


MRS. NATHANIEL COFFIN 


to their son, Nathan Appleton (1843-1903) of Boston, and then to his sister, 
Harriot Appleton (1841-1923), widow of Greely S. Curtis (d. 1897) of Boston, 


from whom it passed to her heirs. 


ExuHIBITED— 

At the exhibition of Stuart’s portraits, Bos- men,” Copley Hall, Boston, 1895; lent 
ton, 1828, No. ro1. by Nathan Appleton. 

At the Centennial Exposition, Philadelphia, At a “Loan Collection of Paintings by 
in 1876. Early American Artists,” held from No- 

At the exhibition held at the Museum of vember, 1895, to May, 1896, at the Met- 
Fine Arts, Boston, 1880. ropolitan Museum of Art, New York. 

At a “Loan Collection of Portraits of Wo- (No. 207.) 


[ Illustrated | 


( 176 )s 


MRS. JAMES SMITH COLBURN 
1790-18 36 


HE was Sarah Dunn Prince, daughter of Captain Job and Elizabeth 
(Cutler) Prince of Boston, and was born there in a house which 
stood on Chambers Street. After her marriage in 1808 to James Smith 
Colburn (1780-1859) she lived for some years at Number 55 Beacon 
Street, in a house, still standing, which her husband had built. Mrs. 
Colburn died suddenly in the General Henry Dearborn house in Rox- 
bury, Massachusetts, where she and her husband were passing the sum- 
mer, and soon after he removed to Charleston, South Carolina, where he 
established himself in business. Mrs. Colburn’s father was a wealthy ship- 
master who commanded the ship “Massachusetts,” the largest merchant 
ship then in America. He died in Amsterdam in 1797. 
Boston, c. 1817. Panel, 28x 2234 inches. She is shown bust, three-quarters 


left, with bluish-gray eyes to the spectator. She wears a low-necked, high-waisted, 
short-sleeved white dress. A scarlet India shaw] is thrown over her right shoulder 


229 


MRS. JAMES SMITH COLBURN 


and falls from her left, covering her left forearm. Her dark brown hair, in curls 
on her forehead and temples and parted, is worn high on top of her head. Her com- 
plexionis fresh. In the background is a column resting upon a parapet, and a portion 
of a wall is shown at the right, and beyond and on each side of the column is blue 
sky with clouds. 

Carried at Mrs. Colburn’s death to Charleston, this picture remained there until 
1908. At Mr. Colburn’s death it passed to his son, John Henry Colburn (d. 1881) 
of Charleston, and then to his daughter, Sarah Jane Colburn (1852-1913), who, 
in June, 1910, presented it to the Boston Museum of Fine Arts. 


Not listed in Mason. Listed in Fielding. 


[ Illustrated | 


( 177 )s 
JONATHAN COLLINS 


Engraved, in line and stipple, vignette, by John Chester Buttre, “after G. 
Stuart.” This engraving shows a bust portrait, turned three-quarters to the left, 
with his eyes directed toward the spectator. His dark hair is brushed back, and he 
wears a double-breasted dark coat, buttoned, a striped waistcoat, white neckcloth 
tied in a bow tie, and frilled shirt. 


Not listed in Mason. Listed in Fielding, No. 32. 


( 178 ) 
JAMES CONNOR 


E77 aL 


E was educated at Dublin University and came to America in 
1799 from Youghal, Ireland. The same year he married Kathe- 
rine Crowley of Belleville, New Jersey. 


230 


JAMES CONNOR 


Germantown, 1800-03. Canvas, 29x24 inches. He is shown bust, turned 
three-quarters to the right, with his dark brown eyes directed towards the spectator. 
His hair, brushed smoothly back, is sandy, as are his sidewhiskers. He wears a buff- 
colored coat, buttoned; white waistcoat, stock and frills. On a table before him, 
in the lower right corner of the picture, are a pewter inkwell with two quill pens, 
and five books bound in yellow. Four of the books are closed and the titles on the 
backs of three of them are: “O’Conner’s Defense,” ‘“Erskine’s View,”? and 
“Gratan’s Speeches.” The fifth book is open and shows in large letters the inscrip- 
tion “Rights of Man. Chap. III.” In the background is a red curtain, draped in 
such a way as to reveal at the right a parapet, the base of a column and a wall, in 
shades of gray and tan. 

The portrait was inherited by his son, James Edward Connor. At a public sale 
at the Anderson Galleries, New York, March 11-12, 1920, it was acquired by the 
Ehrich Galleries. 


REPRODUCED— 

In half-tone, in “One Hundred Early Amer- In half-tone, in American Magazine of Art, 
ican Paintings,” published by the Ehrich April, 1921. 
Galleries, New York City, 1918, page Not listed in Mason. 
116. Listed in Fielding. 


[ Illustrated | 


( 179 ) 
WILLIAM KERIN CONSTABLE 
1751-1803 


E was born in Dublin, of a family which originally came from 

Yorkshire, and came to America, becoming a distinguished mer- 
chant in New York. He was an aide to Lafayette, an honorary member 
of the Society of the Cincinnati, a partner of Gouverneur Morris, and an 
intimate friend of Lafayette, Hamilton, Washington, and Jay, and was 
the principal owner of the “Macomb Purchase.” He was the largest 
owner of wild lands in New York State. He married Anna White of 


231 


Philadelphia. He died in New York City, and was buried in St. Paul’s 
churchyard. 


Philadelphia, 1796. Canvas, 2834 x23 inches. This half-length portrait, of 
which Henry Inman said: “It is the finest portrait ever painted by the hand of 
man,” shows him bust, three-quarters left, with his hazel eyes directed to the spec- 
tator. His powdered hair or wig is tied with a grayish-black queue bow. He wears 
a white neckcloth and large muslin tie with large ends with lace appliqué, a 
peacock-blue high-collared velvet coat with brass buttons, and a pale yellow © 
waistcoat. The plain background is of reddish and grayish browns, and his hands 
are not shown. It is framed with an oval mat, the original canvas having been cut 
in oval form, and mounted on rectangular canvas. 

The receipt for this picture was for $100, and dated November, 1796. On the 
same paper are receipts for the full-length portrait of Washington (now the 
Pierrepont ), and the half-length of Washington afterwards owned by Alexander 
Hamilton and now in the New York Public Library. 

The portrait, painted for his son William, was owned in 1879 by his grandson, 
John Constable of Constableville, Lewis County, New York. Later in the posses- 
sion of Mrs. William Constable, New York, she bequeathed it at her death, in 
1922, to her nephew, William Constable, Esq., of New York City. In October, 
1925, it was acquired by Richard D. Brixey, Esq., of New York City. 


EXHIBITED at the Museum of Fine Arts in versed, by John Chester Buttre. 
Boston in 1880. Courtesy, Messrs. M. Knoedler & Co., New 
ENGRAVED, in line and stipple, oval, re- Mork, 
[ Zllustrated | 


-( 180 ): 


WILLIAM KERIN CONSTABLE 
‘751518035 
Philadelphia, 1796. Canvas, 2914 x 24 inches. This portrait is identical in pose 
and color with the previous picture. 

The history of this picture is shown by the following letter, dated April 8, 1921, 
Trinity Rectory, Vineland, New Jersey: 

“This portrait of William Constable, painted by Gilbert Stuart, was pre- 

sented by William Constable to his daughter Emily. She became the wife of 


233 


WILLIAM KERIN CONSTABLE 


Doctor Samuel Moore of New York. At her death the portrait became the 
property of her daughter, Maria T. Moore, then living in New York. Later 
Maria T. Moore removed to Stamford, Connecticut, where she lived for 
many years until her death about fifteen years ago. My sister, brothers and 
myself drew lots for the portrait, after her death, in compliance with a note 
to that effect which she left. I drew the lucky number and have been the 
owner of the portrait since that time. All of which I swear to be the entire 
truth, and sign my name thereto before a Notary Public. 
Signed: “Francis VAN RENSSELAER Moore.” 
Reverend Francis Van Rensselaer Moore sold it to Thomas B. Clarke, Esq., of 
New York City in 1921. 


ExHIBITED— 
At the Union League Club, New York City, February, 1922. 
Not listed in Mason. 


-( 181 ): 


DANIEL CONY 
1752-1042 

ANIEL CONY wasa son of Samuel and Rebecca Quild Cony of 
Boston and Shutesbury, Massachusetts, who moved in 1777 to 
Hallowell, Maine, to which place the son moved in the following year. 
He married in 1776 Susannah Curtis (1752-1833) and became one of 
Hallowell’s most prominent citizens, being made a judge of the Court 
of Common Pleas; and later a judge of Probate for Kennebec County; 
a member of the Executive Council; overseer of Bowdoin College, etc. 

He was also the founder of the Cony Female Academy. 
Boston, c. 1815. Panel, 28x24 inches. He is shown half-length, seated, three- 
quarters right, in an armchair of yellowish wood, upholstered in red, at a table 


covered with a red cloth on which are two upright brown leather books—and two 
lying down—all with red labels. His right hand rests on another similar book, 


233 


DANIEL CONY 


traditionally known in the family as a volume of his favorite author, Seneca, which 
rests on his lap. A narrow black enameled ring encircles his second finger. His blue 
eyes are directed to the spectator, and his white hair is brushed forward over his 
forehead and above his ears. He wears a high-collared black coat, a white standing 
collar and white neckcloth. The background is plain and of grayish-brown tones. 

The picture hangs in the old Williams house in Augusta, Maine, but is owned. 
by Mrs. Seth C. Beach of Watertown, Massachusetts, and Mrs. Henry T. Whipple 
of Portland, Maine. 


ENGRAVED, on steel in vignette, by A. H. Kennebec,” by Emma Huntington Na- 
Ritchie. son, Augusta, 1909, facing page 28. 
Repropucep in “Old Hallowell on the Not listed in Mason. 


-( 182 >: 


SIR FRANCIS NATHANIEL 
PIERPONT BURTON CONYNGHAM 


1766-1832 


LDEST son of Francis Pierpont Burton, second Baron Conyng- 
ham and his wife, Elizabeth Clements. In 1801 he married 
Valentine Letitia, daughter of Nicholas, first Lord Clancurry. He was 
Lieutenant-Governor of the Province of Quebec, Canada, from 1822 
until the return of the Governor-General, Lord Dalhousie, in 1825, and 
was generally known there as Sir Francis Burton. He returned to Eng- 


land, where he died. 


Dublin, c. 1790. Oval on rectangular canvas, 30 x25 inches. He is shown bust, 
three-quarters left, with his dark blue eyes directed to the right of the spectator. 
He wears a dark blue coat with a red collar, a white neckcloth and a white ruffle. 
His powdered wig is tied with a black queue bow. The background is of a warm 
gray tone. 


234 


SIR FRANCIS NATHANIEL P. B. CONYNGHAM 


The portrait remained in the family and was in the collection of W. C. V. 
Burton, Esq., of Brindon, Ennis, Ireland, a grandson of the subject, who sold it to 
the present owner, Thomas B. Clarke, Esq., of New York. 


Not listed in Mason. 


( 183 »)s 
SIR WILLIAM BURTON CONYNGHAM 
. I 3280n7343cl 700 


HE second son of the Right Honorable Francis Burton of Bun- 

craggy, County Clare, Ireland, and his wife Mary, daughter of 
General Henry Conyngham, M.P., County Donegal. On the death of 
his uncle Henry, Earl Conyngham, in 1787, he inherited the family 
estates and assumed the name and arms of Conyngham. He became a 
Privy Councillor and Teller of the Exchequer in Ireland, was treasurer 
of the Royal Irish Academy and a patron of art. J. C. Murphy dedicated 
to him his work on “‘Batalha.” He died in Dublin, unmarried. 

Dublin, c.1790. Canvas, 36x 26 inches. He is shown half-length, seated three- 
quarters right, his head turned slightly more than three-quarters, and his gray eyes 
directed to the spectator. His complexion is ruddy, and his expression somewhat 
heavy. He wears a powdered wig with the queue bow showing, a white neckcloth, 
buff waistcoat, and green coat with velvet collar, with white ruffles in the sleeves at 
the wrist. 


The portrait, of which the previous history is not known, was purchased in 1906 
by the National Gallery of Ireland, Dublin, from a London dealer. 


ENGRAVED— In line, oval, by Luigi Schiavonetti, 1795; 
In mezzotint, by Charles H. Hodges, 1792; 41%4 x 3% inches, for J. C. Murphy’s 
1344 x 10% inches. (J. Chaloner Smith, “Batalha.” 


9. In line, oval, by P. Audinet, 3 x 2% inches. 
In line, oval, by L. Farn, for the European Not listed in Mason. 
Magazine, 1793; 4%4 x 3¥% inches. Listed in Strickland. 


235 


-( 184 )- 
SIR WILLIAM BURTON CON YNGHAM 
1733-1796 


Dublin, c. 1790. Canvas, 36x28 inches. This half-length portrait shows him 
seated three-quarters right in an armchair upholstered in rose, with his gray eyes 
directed to the spectator. He wears a gray-green coat open at the neck, showing a 
buff-colored lining; a soft white linen neckpiece, and powdered wig tied with a 
black queue bow. His right hand is in his lap and his left holds a letter; white 
ruffles are seen at the wrists. Beside him is a table with a red cover, upon which are 
writing materials and two books, one entitled “Travels through Spain.” 

Acquired from the collection of W. C. N. Burton of Brindon, Ennis, Ireland, 
by T. Robinson of London. In 1922 the portrait was offered for sale in New York. 


Peter Juley, photo. 
[ Illustrated | 


(185 ) 


GEORGE FREDERICK COOKE 
1756-1812 


EORGE FREDERICK COOKE was the son of a British soldier. 

His first appearance as an actor was at Brentfort in 1776. His first 

appearance in London was in 1801 and he continued to act there until 

1810. He attained high rank and excited great admiration in spite of 

periods of extreme drunkenness. In 1810 he appeared in New York and 

was enthusiastically received, ‘obtaining in his cups indulgence for the 
most distressing acts of insolence.” 

Boston, January, 1811. 


He came to Boston in January, 1811, and the portrait was painted at the request 
of Price, joint-manager of the theatre in New York. It was finished on Sunday, 


236 


GEORGE FREDERICK COOKE 


January 6, 1811, and in 1813 was in Price’s possession. (See “Memoirs of the Life 
of George Frederick Cooke, Esquire,” by William Dunlap, New York, 1813, Vol. 
2, pages 212-13.) 

This portrait is at the Garrick Club, Covent Garden, London. 


-( 186 ): 


JOSEPH COOLIDGE 


Ie aL 21 


SON of Joseph and Marguerite (Olivier) Coolidge of Boston, who 
married, first, Elizabeth Boyer of Boston, and second, in 1778, 
her sister Katherine (1755-1829). He was a silversmith and merchant. 


Boston, 1813. Panel, 272 x 22% inches. He is shown bust, three-quarters left, 
with his blue-gray eyes directed to the spectator. His white hair is tied with a black 
queue bow. He wears a black coat, white neckcloth and ruffled shirt. The back- 
ground is of neutral tones. 

This portrait was painted for his son, Joseph Coolidge (1773-1840), who 
bequeathed it to his son, Joseph Coolidge (1798-1879), from whom it passed to 
his son, the present owner, Joseph Randolph Coolidge, Esq., of Boston. 


ExHIBITED— 
At the exhibition of Stuart’s portraits, Bos- At Museum of Fine Arts, Boston, from 
ton, 1828, No. 122. 1893 to 1895. 


| ( 187 )s 
JOSEPH COOLIDGE 
lA ae 


Boston, 1820. Panel, 28x22 inches. This portrait was painted for Joseph 
Coolidge’s second wife, Katherine (Boyer) Coolidge. He is shown three-quarters 
right, with his blue-gray eyes turned to the spectator. 

It was inherited at Mrs. Coolidge’s death by her granddaughter, Catherine 


237 


JOSEPH COOLIDGE 


Boyer Coolidge (1808-1861), wife of Samuel Willys Pomeroy (1802-1882) of 
Pomeroy, Meigs County, Ohio, then by her daughter, Clara Alsop Pomeroy, 
but was deposited with Miss Pomeroy’s aunt, Hetty Bacon Coolidge, wife of 
Reverend Benjamin Isaacs Haight of New York City. It is now owned by Thomas 
B. Clarke, Esq., of New York City. 

EXHIBITED at the Union League Club, New York City, February, 1922. 


[ Illustrated | 
-( 188 ): 


THOMAS APTHORPE COOPER 
1776-1849 

HOMAS APTHORPE COOPER wasa son of Thomas Cooper, 

a surgeon in the British army, who died in India, and his wife, 
Grace Mary Rae. He was born in London, where he made his début as an 
actor with Mrs. Siddons and John Kemble, and was hissed off the stage. 
He added the “‘Apthorpe” to his name after he became an actor. He 
came to the United States in 1796, and first appeared in Baltimore. In 
1797 he made his first appearance in New York as Pierre in “Venice 
Preserved” at Greenwich Street Theatre. In 1803 he revisited England 
and appeared at Drury Lane, but soon returned to America. He married 
Mary Fairlie (d.1832) in 1812, and his daughter married a son of Presi- 
dent John Tyler. In 1828 he again visited London, but was coldly re- 
ceived, and in the same year he was back in New York, where in March 
he appeared in “Macbeth.” In 1841 he was appointed Military Store- 
keeper to the Arsenal in Frankfort, Pennsylvania, and was afterwards 
Surveyor of the ports of Philadelphia and New York. He died at 
Philadelphia, and is buried at Bristol, Philadelphia. He was a man of 
liberal education and fine attainments, and for thirty years held a leading 
place on the American stage. 


238 


THOMAS APTHORPE COOPER 


Boston, c. 1824. Panel (s), 2812x2234 inches. He is shown bust, three-quar- 
ters left, seated in a gilt chair upholstered in red damask, with his left arm over the 
arm of the chair, showing a large red signet ring on his little finger, and with his 
blue eyes directed to the spectator, and with dark brown curling hair. He wears a 
rich brown overcoat, with black frogs, the latter painted with heavy impasto, and 
lighter brown fur collar and cuffs, and a few dashes of red as though the lining of 
the coat were turned out in front, and a white neckcloth. The background is of 
neutral brown tones. 

His portrait was inherited by his daughter, Priscilla E. Cooper (1816-1889), 
wife of Robert Tyler of Williamsburg, Virginia, and later of Philadelphia and 
Bristol, Pennsylvania, and a son of John Tyler, President of the United States. It 
remained in their home in Bristol and Philadelphia until the outbreak of the Civil 
War in 1861, when Mrs. Tyler sold it to John Hoey (1824-1892), the actor, of 
Trenton, New Jersey. Mr. Hoey gave it in 1862 to Mrs. Tyler’s sister, Miss 
Louise Fairlie Cooper (d. 1894) of New York City, and she presented it to the 
Player’s Club of New York. 


Nore: Mason was unable, after “a careful search,” to find this picture. 


| Zllustrated | 


( 189 )s 
JUDGE WILLIAM COOPER 


1754-1809 

ILLIAM COOPER was a son of James and Hannah (Hibbs) 

Cooper of Byberry Township, Pennsylvania. In 1775 he mar- 
ried Elizabeth Fenimore of Burlington, New Jersey, and in 1790 re- 
moved from Burlington to Otsego County, New York, and founded 
Cooperstown. He was a judge of the Otsego Court of Common Pleas, 
and a representative in Congress from 1795 to 1797 and from 1799 to 
1801. Hediedin Albany. 


Philadelphia, 1797-98. Canvas, 36x28 inches. He is shown seated, turned 
three-quarters to the left, with his gray eyes to the spectator. His fleshy face is 


239 


JUDGE WILLIAM COOPER 


ruddy and he wears a powdered wig. His hands are resting on a table with a red 
cover, and holding a partially unrolled map of Cooperstown (“Cooper Town” on 
the map). He wears a black coat and waistcoat, a high standing collar turned 
down, a white neckcloth tied under his chin in large flowing tie. The background 
is formed by a dull red curtain drawn back from lower left corner. Back of chair, 
studded with brass-headed nails, showing in lower right corner. 

His portrait was inherited by his son, the famous novelist, James Fenimore 
Cooper (1789-1851) of Otsego Hall, Cooperstown, and then by his son, Paul 
Fenimore Cooper of Albany, who bequeathed it to his son, James Fenimore Cooper, 
Esq., of Cooperstown, New York, the present owner. 


REPRODUCED, in half-tone, in “James Fenimore Cooper,” by Mary E. Phillips, New York, 
1913, page 10. [ Illustrated | 


( Igo )s 
JOHN SINGLETON COPLEY 


1737-1505 


OHN SINGLETON COPLEY, the son of Irish parents, Richard 
J and Mary Copley, was born in Boston. There is no evidence that 
Copley received any other education than that afforded by the primitive 
schools of that time. His father dying soon after John was born, Mrs. 
Copley in 1748 married Peter Pelham, who was, considering the period, 
of some education and a painter and engraver as well. Thus it is fair to 
assume that young Copley was taught the rudiments of his art by his 
stepfather. He made rapid progress as a portrait painter and commanded 
early in his career the time and purses of the well-to-do in Boston and 
New York. In 1769 he married Susannah Farnum, the daughter of 
Richard Clarke, a wealthy merchant of Boston. When the storm broke 
which was to be followed by the war, Copley was at first sympathetic 
with the Revolutionists, but later turning against them, left the country 


. 240 


JOHN SINGLETON COPLEY 


in June, 1774. He had already acquired property in Boston, and through 
the fortunes of war was obliged to lose it. After traveling and studying 
two years on the Continent, he went back to London, where he was 
joined by his family. Then began a career of uninterrupted success. He 
became a Royal Academician in 1783, and many of the nobility and 
members of the royal family were among those who sat to him for their 
portraits. He died in London and was buried in the Church of St. John 
the Baptist at Croydon. 


The engraving by Edwards shows a bust portrait, turned three-quarters to the 
left, with his eyes directed slightly to the spectator’s left. His powdered hair is 
tied ina queue bow. He wears a dark coat with broad, turned-cown collar, a white 
neckcloth and frilled shirt. 

Owned by Georgina, Baroness Lyndhurst (1808-1901). She bequeathed it in 
trust to her daughter, Georgina Susan Copley, widow of Sir Charles Du Cane of 
London, during her life, and at her death to go to the National Portrait Gallery, 
London. 


ENGRAVED, in line, vignette, 336 x 234 Painters,” 1830, where it is erroneously 
inches, by W. C. Edwards, “from the attributed to Gainsborough. 
original in the possession of Lord Lynd- Not listed in Mason. 


hurst,” for Cunningham’s “Lives of the 


-( IOI ): 
THOMAS CORDIS 
1771-1854 
| ee many years a hardware merchant on Milk Street, Boston. Sev- 
eral years before his death he disposed of his estate, 19 Beacon Street, 
and retired to Long Meadow, Massachusetts. He married Rebekah 


Russell (q.v.) and left four children. 
Owned in 1879 by Francis Temple Cordis, Long Meadow, Massachusetts. 


ExuIBITEp at the exhibition of Stuart’s portraits, Boston, 1828, No. 40. 


241 


( 1g2 )s 
MRS. THOMAS CORDIS 
1790-1832 


Qi ncseen RUSSELL, a descendant of Richard Russell, who came 
to America in 1632. She was celebrated for her beauty. 


Boston, c. 1812. 
Owned in 1879 by Francis Temple Cordis. 


ExuHIBITED at the exhibition of Stuart’s portraits, Boston, 1828, No. 41. 


( 193 )s 
MRS. COTTRINGER 


HE wife of an Irish gentleman who at one time was a merchant in 
Alexandria. 


Owned in 1879 by her daughter in Washington. 


"C194 ): 
MRS. WILLIAM CRAIG 


According to Mason, a portrait of her by Stuart was owned in 1879 in Phila- 
delphia, but there seems to be doubt about it. 


242 


( 195 )s 
ALLEN CROCKER 
1750-1825 


ORN in Boston, became a lawyer, author of law books, and kept a 
bookstore. He was considered a man of wealth and culture. Of 
Allen Crocker, Miss Sarah L. Guild, who is the granddaughter of Allen 
Crocker’s nephew, writes the following: “Mr. Crocker was a quiet man 
of great learning, and my mother told me he edited and sold law books 
here in Boston, his shop being a rendezvous for men of letters. He never 
married, and was exceedingly kind to his nephews and nieces. He was a 
most intimate friend of Gilbert Stuart, and helped him ina financial way 
very frequently. On account of Stuart’s pride, his favorite way to aid the 


artist was to order a portrait painted at such times as Stuart was in need 
of funds.” 


Boston, c. 1815. Canvas, 2534 x21 inches; oval opening, 2434 x 1934 inches. 
He is shown bust, three-quarters left, with his brown eyes directed to the spectator. 
His brown hair, turning gray, is tied with a black queue bow. He wears a dark 
brown coat with high black collar, white neckcloth and shirt ruffles. His hair is 
parted in the middle of his forehead, as in the portrait of William Gray. His com- 
plexion is ruddy. The plain background is of greenish-gray tones. 

By his will, made in 1818, Allen Crocker bequeathed ‘“‘my Portrait by M’. 
Stewart” to his nephew, Samuel Crocker of Taunton. In 1880 the portrait was 
owned by Mrs. Abby Crocker Richmond (1802-1887) of Taunton, daughter of 
the Honorable Samuel Crocker. She married, first, in 1822, David George Wash- 
ington Cobb (1790-1832), and, second, Charles Richmond. At her death it 
passed to her daughter, Sarah Crocker Cobb, wife of Curtis Guild of Boston. In 
1913 it was owned by Mrs. Charles F. Russell, Weston, Massachusetts. 


ExHIBITED in the Museum of Fine Arts, Boston, from 19149 to the present time. 


[ Illustrated | 


243 


( 196 )s 


MATILDA CAROLINE CRUGER 
1776-1812 


HE was a daughter of Henry Cruger of New York by his second 

wife, Elizabeth Blair. Her father went to England and was elected 
to Parliament in 1774, where asa colleague of Edmund Burke he advo- 
cated the cause of America throughout the Revolution. His daughter 
was born in Bristol, and in 1790 came to New York with her father, 
where, in 1795, she married Lawrence Reid Yates (q.v.), who left her a 
widow in the following year. In 1800 she married her cousin, Judge 
Henry Walton (died 1844.) of Saratoga Springs, New York. By her first 
husband she had one child, and six by her second, of whom one married. 
She died in Charleston, South Carolina. 


New York, 1793. Canvas, 3634x28% inches. She is seated, turned to left, 
in a high-backed armchair upholstered in crimson brocade and studded with brass 
nails, with her grayish-brown eyes directed to the spectator’s left. Her rich brown 
hair is worn in tight curls, low on her forehead and neck, with a long curl over her 


left shoulder reaching to below her bosom. On top of her head is a circlet of large 
pearls and a small blue bow. Her dress is white, with long sleeves, with a tiny ruffle 


of narrow lace at the wrists, and cut low with a wide white muslin fichw with 
ruffles. About her waist is a grayish-greenish-blue wide silk sash. Her hands are 
crossed on her lap. A white scarf is over the left arm of the chair. Her complexion 
is fresh. At the left background is panelled woodwork, and the remainder is a plain 
gray-green. 

Her portrait was inherited by her only child by her first marriage, Caroline 
Matilda Yates (died 1866), afterwards the wife of James Taylor of Albany, a 
widower with three children. Mrs. Taylor had no children and bequeathed her 
mother’s portrait to her stepdaughter, Maria Taylor (died 1912), wife of Justice 
Ward Hunt (1810-1886) of Utica, New York, for her life, with remainder to 
Mrs. Hunt’s sister, Sarah Ann Taylor, wife of Reverend Maunsell Van Rensselaer 
(1819-1900) of Albany and New York City. At Mrs. Hunt’s death, it passed to 
her sister’s daughter, Caroline Matilda Van Rensselaer, wife of Phineas P. Hill- 
house of California, who sold it through Messrs. Charles H. Hart of New York 


244 


MATILDA CAROLINE CRUGER 


and Frank W. Bayley of Boston, in 1917, to Frank Bulkeley Smith (1864-1918) 
of Worcester, Massachusetts. At the auction of the Smith collection in New 
York, in April, 1920, it brought thirteen thousand five hundred dollars, and in 
1921 became the property of Thomas B. Clarke, Esq., of New York. 


ExuIBITED at the Union League Club, New tory of the Art of Design in the United 
York City, February 13, 1922 (17). States,” Boston, 1918, Vol. I, facing page 
REPRODUCED, in half-tone, in Bayley and 248. 


Goodspeed’s edition of Dunlap’s “His- 
| Zllustrated | 


( 1Q7 )s 
WILLIAM CUMBERLAND CRUIKSHANK 


1745-1800 


NATOMIST, and author of a number of medical works. He was 
born in Edinburgh and at an early age went to London, where he 
was successively the assistant and partner of Doctor William Hunter. He 
acquired reputation by his lectures and by his work on “The Anatomy 
of the Absorbent Vessels” (1786). According to Jane Stuart (Mason, 
page 20) Stuart attended the anatomical lectures of Doctor Cruikshank 
and made there the acquaintance of a Mr. Coates, whose sister, Charlotte 
Coates (1768-1845), later became his wife. 


The engraving by W. and F. Holl shows a bust portrait, turned three-quarters 
to the left, with his eyes directed to the spectator’s left. He wears a powdered wig, 
with rolls over his ears; and is dressed in a dark, high-collared coat, white collar, 
neckcloth and frilled shirt. Plain dark background. 


ENcRAVED— 
In mezzotint, by William Say, 1801, 1374x To judge from the difference in the en- 
11% inches. Two states. gravings Stuart painted Doctor Cruik- 
In line and stipple, rectangular, by W. and shank twice. 
F. Holl, 1839, 47% x 37 inches. Not listed in Mason. 


In line, oval, by J. Corner, 34x27 inches. Listed in Fielding, No. 35. 


245 


( 198 )s 
MRS. JOSEPH LEWIS CUNNINGHAM 
1787-1820 


Coen INMAN LINZEE, the daughter of Captain John and 
Susannah (Inman) Linzee of Boston. She married in 1807 Joseph 
Lewis Cunningham (1784-1843) of Boston. 


Boston, c. 1807. Canvas, 30 x 25 inches. She is shown half-length, seated, three- 
quarters left, with brown eyes directed to the spectator. Her chestnut hair is dressed 
high with an ornamental comb, a few long ringlets curving down to her eyebrows. 
Her cheeks are of a high color. She wears a low-necked, high-waisted, short- 
sleeved white dress, with a ribbon encircling the waist and tied in front in a bow. 
Her armsare crossed on her lap, partially covered by a rose shawl, falling from her 
shoulders. The background is formed by a curtain of golden-brown, drawn back 
at the left, showing the base of a column and blue sky with white clouds beyond. 

The portrait passed to her brother, John Inman Linzee (1781-18 59) of Boston, 
who bequeathed it to his niece, Sarah Linzee Cunningham (1817-1894), daugh- 
ter of the subject of the portrait. She gave it, many years before her death, to her 
brother, Edward Linzee Cunningham (1810-1905) of Newport, Rhode Island. 
It was purchased in 1906 by Thomas Jefferson Coolidge, Jr. (d. 1912) of Boston 
and Manchester, Massachusetts, and it is now owned by his widow, who is a 
descendant of Mrs. Joseph Lewis Cunningham’s sister. 


( 199 )< 
CURTIS 


Mason lists this name, without giving particulars. 


246 


*( 200 ): 


MRS. THOMAS CUSHING 
1791-1872 


LIZA CONSTANTIA WATSON, daughter of Marston and 

Lucy (Lee) Watson of Marblehead and Boston. She became, in 

1813, the second wife of Thomas Cushing (1780-1857) of Boston, and 
was a sister of Horace Howard Watson (q.v.). 


Boston, 1814. Panel, 26x 217% inches. Mrs. Cushing is shown half-way left, 
with her dark blue eyes directed to the spectator, and her light reddish-brown, or 
auburn, hair done high on top of her head, parted on her forehead, and worn in 
loose ringlets at her temples and over her ears. Her nose is long, her chin pointed, 
and her complexion fair with high color on her cheeks. She wears a white, high- 
waisted, long-sleeved dress, the neck low-cut and trimmed with white lace 
insertion. Her waistline rises to a point in front from which depends a bow of 
narrow satin ribbon, and over her shoulders is thrown a scarlet shawl. The back- 
ground is plain and of brownish-gray tones. 

The portrait was inherited by her daughter, Lucy Lee Cushing (1818-1883), 
wife of Horatio Chickering of Dedham, Massachusetts. The latter part of her 
life Mrs. Chickering lived in Boston and she bequeathed the portrait to her sister, 
Agnes Lee Cushing, who married Henry A. Rice of Boston. From her it passed 
to her niece, Miss Ellen Watson Cushing of Boston. 


ExHIBITED— 

At the “Centennial” Exposition, Philadel- At Copley Hall, Boston, at “A Loan Col- 
phia, 1876. lection of Portraits and Pictures of Fair 

At the Museum of Fine Arts, in Boston, in Women,” in 1902. 


1880 and 1915. 
| Illustrated | 


247 


‘(201 )} 


GEORGE WASHINGTON PARKE CUSTIS 
LZO1-1057 


SON of John Parke and Eleanor (Calvert) Custis of Mount Airy, 

Maryland. He was the adopted son of George Washington, and 

his early lite was passed with his grandmother, Martha Washington, at 

Mount Vernon. In 1802 he built Arlington House. In 1804 he married 

Mary Lee Fitzhugh (died1853), and their daughter, Mary Anne 

Randolph Custis (1808-1873), married General Robert E. Lee (1807- 
1870). 

Engraved, in line, vignette, by John Chester Buttre, “after G. Stuart.”? This 
engraving shows a bust portrait, turned three-quarters to the right, with his eyes 
in the same direction. He has a rather long nose and his hair is very thin on top of 
his head, where it is parted on the right side. He also has sidewhiskers and wears 
a coat with fur collar and a white shirt, the wide collar of which is turned down 
and open at the neck. 


At Mrs. Robert E. Lee’s death the portrait passed to her son, George Washing- 
ton Custis Lee (born 1832). 


-(( 202 )s 


RICHARD CUTTS 
1771-1845 
ICHARD CUTTS was a son of Colonel Thomas and Elizabeth 
(Scammon) Cutts, and was born on Cutts Island, Saco, Maine. He 


was a direct descendant of John Cutts, who was appointed Governor of 
New Hampshire by Charles the Second. In 1804 he married Ann Payne 


248 


RICHARD CUTTS 


(q.v.), sister of Mrs. James Madison. He was the first member of Con- 
gress from Maine and was first Comptroller of the Treasury under 


Madison. 


Washington, c. 1804. Canvas, c. 30x25 inches. Half-length, turned half-way 
to the right, with his brown eyes directed to the spectator. He has curly brown hair 
and wears a black coat, white neckcloth and pleated ruffled shirt. The plain back- 
ground is of a dark neutral color. | 

His portrait is now owned by a descendant, Mrs. Walter Farwell, of Mallow, 
Syosset, Long Island, New York. 


REPRODUCED in Maine Historical Society’s A copy, by Charles B. King, is owned by 


Collections and Proceedings (1897), Se- George B. Cutts, Esq., of Brookline, Mas- 
ries 2; 8: I. sachusetts. 
[ Illustrated | 


(203 ): 


MRS. RICHARD CUTTS 
Died 1832 


NN PAYNE, daughter of John and Mary (Coles) Payne and a 
sister of Mrs. James Madison (q.v.). In 1804 she married Richard 
Cutts (q.v.). 


Washington, c. 1804. Canvas, 29}4x24™% inches. She is shown seated, half- 
way left, with her light blue eyes to the spectator and her hands clasped lightly in 
her lap, in a high-backed armchair, and her body erect. She wears a low-necked 
white dress with high waist and tight sleeves, the neck trimmed with white lace. 
_ A pale mauve shawl with gold fringe has fallen from her shoulders, encircling her 
body and entirely concealing her forearms. Her light auburn hair, done very high 
on her head, is parted, and her high forehead is partially covered by long ringlets 
which hang over eyebrows and temples. Her complexion is florid. The background 
shows a brownish-hued column about which is draped a green curtain, the outline 
of which, together with that of the base of the column, makes a caricatured profile 


24.9 


MRS. RICHARD CUTTS 


of Stuart. At the left of the column, which rests upon a solid wall or parapet, is 
shown a glimpse of blue sky flecked with pinkish-white clouds. 
Before Stuart left Washington for Boston in 1805, he wrote Mrs. Cutts a note 
of thanks for some service rendered and referred to her portrait and his profile. 
After her husband’s death in 1845 her portrait became the property of their 
son, Doctor Harry Madison Cutts (18 58—1918) of Brookline, Massachusetts, who 
bequeathed it to his son, the present owner, George B. Cutts, Esq., of Brookline. 


Exu1BiTep at “Loan Collection of Por- ton, Philadelphia, 1902, facing page 142. 
traits of Women,” Copley Hall, Boston, A copy, by Charles B. King, is owned by 
March I1 to 31, 1895. Mrs. Walter Farwell, Mallow, Syosset, 

REPRODUCED, in half-tone, in “Social Life Long Island, New York. 
in the Early Republic,” by A. H. Whar- 

[ Zllustrated | 


-( 204 ) 
MRS..CHARLES WILLIAM DABNEY 
1793-1862 


RANCES ALSOP POMEROY, daughter of Samuel Wyllys 

Pomeroy and his wife, Clarissa Alsop of Connecticut and Boston. 
She married in 1819 Charles William Dabney (1771-1871) of Boston 
and Fayal, Azores, where he was United States Consul. 


Boston, 1819. Panel, 2618 x21 inches. She is shown bust, three-quarters right, 
with her brown eyes directed to the spectator. Her curly hair is brown. She wears 
a low-necked, high-waisted, short-sleeved, white dress, with white lace on the neck 
and sleeves. A narrow white ribbon, about her waist, is tied in front with a bow. A 
red India shawl, with a figured and fringed border, falls from her right shoulder 
and encircles her body, appearing at her left side. ‘The background is composed of 
sky and clouds in browns and blues. 

According to contemporary family record, the portrait was painted “‘in a great 
hurry,” immediately after Mrs. Dabney’s marriage in June, 1819, just as she was 
leaving for Fayal, Azores, where the picture remained for many years until 
brought back to Boston. 


250 


MRS. CHARLES WILLIAM DABNEY 


Her portrait was inherited by her son, Charles William Dabney (1823-1870) 
of Boston, and then by his two daughters, the Misses Sarah and Ellen Dabney of 
Boston, the present owners. 


ExHIBITED— 
At the exhibition of Stuart’s portraits, Bos- At the Boston Atheneum in 1868, by 
ton, 1828, No. 114. _ Charles William Dabney. 


*( 205 ): 
ALEXANDER JAMES DALLAS 
1750705 Ly 


HE son of a Scotch physician, born in Jamaica, West Indies, he 

was educated at Edinburgh, studied law in London, and practised 
for a time in Jamaica. In 1780 he married, in England, Arabella Maria 
Smith (q.v.), the daughter of Captain Smith, R. N. Removing to Phila- 
delphia in 1783, he became an American citizen and was admitted to the 
bar two years later. In 1791 he was appointed Secretary of the Common- 
wealth, serving three terms under Governor Mifflin (q.v.), and con- 
tinued under Thomas McKean (q.v.), until Jefferson appointed him 
United States District Attorney for Eastern Pennsylvania, which post he 
held for thirteen years. President Madison in 1814 made him Secretary 
of the Treasury at the time of the war with Great Britain, when the goy- 
ernment was seriously embarrassed. Dallas performed his duties well 
and energetically. He was Secretary of War as well as Secretary of the 
Treasury after March, 1815. It was through his efforts that the Bank of 
the United States was reéstablished. In 1816 he returned to the practice 
of law in Philadelphia, but died a few weeks later. 


Philadelphia, c. 1800. Canvas, 29 x 24 inches. Bust portrait, three-quarters to 
the left, with his grayish-green eyes directed to the spectator. His hair is pow- 


25T 


ALEXANDER JAMES DALLAS 


dered, tied in a queue bow, and his complexion is fresh. He wears a black coat, a 
white neckcloth and cambric bow tie edged with lace. The plain background is of 
dark green and dark brown tones. 

This portrait was given by Mr. Dallas to his ae daughter, Mrs. Sophia Balch, 
who left it to her son, Alexander Dallas Balch, who gave it as a memento to Mrs. 
Matilda W. Emery, wife of Major-General Emery, U. S. A., of Washington, 
District of Columbia, from whom it was purchased by the Pennsylvania Academy 
of the Fine Arts, Philadelphia. 


ENGRAVED— Gallatin,” by J. A. Stevens, 1909, facing 
In stipple, by W. S. Leney, 1817, 3.10 x 3 page 236. 
inches. Two states (Stauffer, 1741). A copy was made by Thomas Sully in 1834 
In stipple, by Goodman and Piggot, 1888, for Mr. Dallas’ son, and another by the 
4.13 X 3.15 inches (Stauffer, 1129). same artist in 1835. 
REPRODUCED, in photogravure, in “Albert C. S. Bradford, photo., copyright. 
[ Illustrated | 


-( 206 >): 


MRS. ALEXANDER JAMES DALLAS 
Died 1837 


RABELLA MARIA, daughter of Captain George Smith of the 
British Army and his wife Arabella, daughter of Doctor Barlow, 
rector of Stoke, Devonshire, England, and a granddaughter of Sir 
Nicholas Thevanion of Cornwall, England. On the fourth of March, 
1780, she married Alexander James Dallas (q.v.) in the parish of Alph- 
ington, Devonshire. They came to America in 1783. 

Philadelphia, c. 1800. Canvas, 29x 24 inches. Half-length, seated half-way to 
the right, in a carved and gilt armchair upholstered in red velvet and studded with 
brass-headed nails. Her dark brown eyes are directed to the spectator and a black 
ribbon is visible in her powdered fluffy hair. She wears a low-cut dress of black 
velvet, with folds of white tulle filling in the neck and encircling the end of her 


. sleeve, where they are held together by a gold clasp with a carbuncle. Her hands 
are clasped and her left arm appears to rest on a table concealed by a grayish-white 


252 


MRS. ALEXANDER JAMES DALLAS 


scarf thrown over her arm. Around her neck is a narrow band of black velvet and 
at her bosom she wears a miniature. On her right wrist isa chain of pearls forming 
a bracelet fastened with an enameled clasp; on the third finger of her right hand 
may be seen a plain gold ring. The plain background is of a dark and dull red. 
This portrait was owned in 1888 by Mrs. Sophia Bache Irwin of Philadelphia, 
and at her death it passed to her daughter, Mary Bache Irwin, wife of Dennis 
McCarthy, Esq., of Washington, District of Columbia, the present owner. 


ExuIBITED at “Loan Exhibition of Histor- emy of the Fine Arts, Philadelphia. 
ical Portraits”. December 1, 1887, to Jan- C. S. Bradford, photo., copyright. 
uary 15, 1888, at the Pennsylvania Acad- 


[ Zllustrated | 


( 207 )s 
DOCTOR SAMUEL DANFORTH 
1740-1827 , 

E wasa son of Samuel and Elizabeth (Symmes) Danforth of Cam- 

bridge, Massachusetts, and was graduated from Harvard in 1758. 
He married, first, in 1770, Hannah Watts (died 1780); second, Mar- 
garet Billings (died 1782); and third, Martha Gray Hall. He practiced 
medicine in Boston, and was much esteemed as a physician. Loyalty to 
the British Crown brought him into temporary disrepute at the time of 
the American Revolution, and he lived for two years at Newport, Rhode 
Island. He wasa Fellow of the American Academy of Arts and Sciences; 
president from 1794 until 1798 of the Massachusetts Medical Society; 
and a corresponding member of the London Medical Society. 

Of Doctor Danforth, Oliver Wendell Holmes says in Winsor’s ““Me- 
morial History of Boston,” Vol. IV, page 563: “He was very positive, 
somewhat passionate; swore like our army in Flanders, and did not care 
much for other people’s beliefs. . . . He has special claims to profes- 


253 


DOCTOR SAMUEL DANFORTH 


sional remembrance as having anticipated the practitioners of our own 
time in entirely giving up blood-letting. . . . He could not bear oppo- 
sition. But he wasa great favorite with his patients and commanded their 
entire confidence.” 


Boston, c. 1809. Canvas (s), 358x293 inches. His portrait shows him seated 
three-quarters left, in an armchair upholstered in red velvet, and his blue eyes 
directed to the spectator. He wears a black coat, white neckcloth and ruffled shirt. 
His hair is powdered, and tied in a queue. His face, ruddy in color, has a kindly 
but determined expression. In his left hand, which rests upon his right, he holds an 
unopened letter, and his right hand clasps an upright leather-bound book. In the 
background is a pale rose-colored curtain. 

Inherited at his death by his daughters, his portrait was bequeathed by the sur- 
vivor of them, Elizabeth Sherburne Bowers Danforth (1801-1885) of Boston, to 
the Massachusetts Medical Society, its present owner, but it has hung for some 
years in the Massachusetts Medical Library, 8 The Fenway, Boston. 


EXHIBITED— . The head was drawn on stone by Rem- 
At the exhibition of Stuart’s portraits, Bos- brandt Peale and lithographed by Pen- 

ton, 1828, No. 208. : dleton for “Thacher’s American Medical 
At the Boston Atheneum in 1871. Biography,” 1828, Vol. 2. 


-( 208 ): 


THOMAS, BARON DARTREY 
1725-1003 


HOMAS DAWSON, son of Richard and Elizabeth (Vesey) 
Dawson. He was created Baron Dartrey of Dawson Grove, County 
Monaghan, Ireland, in 1770. He married, first, in 1754, Lady Anne 
Fermor, who died in 1769; and, second, in 1770, Philadelphia Hannah 
Freame (died 1826), a granddaughter of William Penn of Philadelphia, 


Pennsylvania. He was created Viscount Cremorne in 1785, and his 


254 


THOMAS, BARON DARTREY 


children dying young, thus depriving him of direct issue, he was created, 
in 1797, Baron Cremorne of Dawson Grove, County Monaghan, with 
remainder to his nephew, and the heirs male of that gentleman. 

London, 1782. 


The portrait was inherited, with the barony of Cremorne, by his great-nephew, 


Richard Thomas Dawson, second Lord Cremorne (1788-1827). 
EXHIBITED, according to Strickland, at the Not listed in Mason. 


Royal Academy, London, in 1785 (No. Listed in Strickland. 
176 ?, “Portrait of a Nobleman”). 


( 209 )s 
COUNT ANDRE DASCHKOFF 


HARGE D’AFFAIRES and consul-general from Russia to the 
United States in 1811, and from 1812 to 1818 Russian Envoy 
Extraordinary and Minister Plenipotentiary to the United States. 


According to Mason, Count Daschkoff most probably took the portrait with 
him to Russia. 


-(( 210 ): 


AARON DAVIS 
17O SEOUL 7 


E was a son of Captain Aaron and Susannah (Craft) Davis of . 
Roxbury, Massachusetts. He married in 1793 Theoda Williams 
(q.v.) of Roxbury. Mr. Davis, with his brother Charles, carried on a 


255 


AARON DAVIS 


large and lucrative business in Roxbury, in packing and shipping pro- 
visions; and they also owned and operated a distillery and tannery. Mr. 
Davis died suddenly while returning from a trip to the West Indies, and 
left no children. 


Boston, c. 1816. Panel (s),.284 x 22% inches. His portrait is in excellent con- 
dition and shows a man of genial countenance, with a complexion of brilliant color- 
ing, blue eyes directed to the spectator, and hair originally sandy, but turned gray, 
and the top of his head bald. He is seated, three-quarters right, and wears a black 
coat, white neckcloth and ruffled shirt. His hands do not show. The background 
is plain and dark. 

This portrait passed to his niece, Miss Davis of Roxbury,and then to her brother, 
Charles Davis (1807-1888) of Boston, who, about three years before he died, 
gave it to his son, Charles Davis, Jr., Esq., of Boston. He, in 1914, gave it to his 
son, Aaron Davis, Esq., of Boston. 


EXHIBITED at Copley Hall, Boston, in Not listed in Mason. 
1896. Listed in Fielding, No. 37. 


[ Zllustrated | 


(211 ): 


MRS. AARON DAVIS 


1764-1834 
HE was Theoda Williams, daughter of Stephen and Theoda 
(Perrin) Williams of Roxbury, Massachusetts, and a sister of Mrs. 
John Bartlett of Roxbury (q.v.). She married, first, in 1793, not, as 
Mason states, Charles Davis, but Aaron Davis (q.v.) of Roxbury. She 
married, second, in 1820, Jonathan Hunnewell (1759-1842), a select- 


man and merchant of Boston. 


Boston, c. 1816. Panel (s), 28 x 2234 inches. She is seated, three-quarters left, 
in an armchair upholstered in crimson velvet, and is represented as a woman of 


256 


MRS. AARON DAVIS 


dignity and refinement who, although no longer young, still retains many evi- 
dences of former beauty of face. Her hair, a rich chestnut brown, has not yet 
begun to turn gray, and is massed upon her head in luxuriant rolls and curls, and 
confined just above her forehead with a broad band of brown velvet, below which, 
upon her forehead, descend loose ringlets. Her dark brown eyes are directed to the 
spectator. She wears a black velvet dress, cut low, and with short sleeves, the neck 
of the dress being filled in with lace, which leaves her throat exposed. A filmy lace 
shawl is thrown over her right shoulder and, passing behind her back, envelops 
her left arm to the wrist. Only her left hand is shown, and the plain background is 
of a dark brownish tone. 

Inherited by her niece, Theoda Williams (Mrs. John Standish Foster, 1790- 
1873), the portrait passed to her daughter, Hannah Barrett Foster (1825-1884), 
wife of Elliot Eaton Kellogg of Dedham, Massachusetts, and from her to her son, 
Doctor Edward Brinley Kellogg of Boston. 


ExuIBITED at “Loan Collection of Portraits March 11-31, 1895; lent by Edward B. 
of Women,” at Copley Hall, Boston, Kellogg, Esq. 
[ Illustrated | 
{CWI GSE Sk 
GENERAL AMASA DAVIS 
1744-1825 


E was a son of Joshua and Sarah (Pierpont) Davis of Roxbury and 
Brookline, Massachusetts. From 1787 until his death he was 
Quartermaster-General of Massachusetts. He was active for many years 
in the state militia, and a member of the Ancient and Honourable Artil- 
lery Company of Boston. He married in 1764 Sarah Whitney (1746- 
1794) of Weston, Massachusetts. 
Boston, c. 1820. Panel, 328x26¥% inches. He is shown seated comfortably, 


three-quarters left, in an armchair upholstered in red, his elbows resting upon the 
arms of the chair, and his hands with the fingers interlocked. He wears a black coat 


257 


GENERAL AMASA DAVIS 


buttoned, and a white neckcloth and muslin ruffles in his bosom. His face is ruddy, 
and his expression calm and kindly. His dark blue eyes, with high eyebrows, are 
directed to the spectator. His head, bald on top, with curly white hair, is thrown 
into strong relief by a dark background of olive browns. 

The portrait, valued in 1825 at twenty-five dollars in the inventory of his estate, 
was inherited by his eldest daughter, Lucinda (1769-1843), wife of William 
Dorr of Dorchester, Massachusetts. At her death it passed to her daughter, Sarah 
Whitney Davis Dorr (1808-1899), wife of Edwin Lemist of Roxbury, Massa- 
chusetts, and then to her daughter, Frances Ann Lemist (Mrs. John Andrews 
Wheelock) of Roxbury. Mrs. Wheelock sold it in 1915 to Mrs. Thomas Lindall 
Winthrop (Ann Lothrop Motley) of Boston, a great-granddaughter of General 
Davis, and she in turn, in May, 1923, gave the portrait to her niece, Mrs. Law- 
rence Park of Groton, Massachusetts, a great-great-granddaughter of the subject. 


EXxHIBITED— At the Worcester Art Museum in 1912. 
At the exhibition of Stuart’s portraits, Bos- A copy, made about 1835 by Jane Stuart, is 
ton, 1828, No. 106. owned by Mrs. Lawrence Park, Groton, 
At the Boston Art Club in November, 1911. Massachusetts. 
[ Illustrated | 


(213 ): 


MRS. CALEB DAVIS 
17 5Onloa. 


LEANOR CHEEVER, a daughter of William Downs and Eliza- 

beth (Edwards) Cheever. In 1787 she married Caleb Davis of 
Boston, the son of Joshua and Sarah (Pierpont) Davis of Brookline, 
Massachusetts. 


Boston, before 1820. Panel, 26x 2136 inches. This is a bust portrait, showing 
Mrs. Davis turned three-quarters to the left with her hazel eyes directed to the 
spectator. Only a few light brown curls are seen, the rest of her hair being con- 
cealed by a ruffled lace cap. She wears a bodice of lavender-colored silk with a 
deep yoke of lace finished at the neck with a high standing circular lace collar. 


258 


MRS. CALEB DAVIS 


Over her shoulders is a black silk shawl. The plain background is of warm brown 
tones. On the back of the panel is inscribed: “Eleanor Cheever Davis, 1750— 
1825, Gilbert Stuart.” 

The portrait was inherited by her daughter, Eliza Cheever Davis (1790- 
1828), wife of George Cheyne Shattuck, of Boston; then by her son, George 
Cheyne Shattuck (1813-1893) of Boston, who bequeathed it to his son, Doctor 
Frederic Cheever Shattuck, the present owner, also of Boston. 


ExHIBITED— 
At the Museum of Fine Arts, Boston, in tion of Portraits of Women,” March 
1880. II—31, 1895. 


At Copley Hall, Boston, at “Loan Collec- LITHOGRAPHED in vignette by Pendleton. 
[ Illustrated | 


‘(214 ): 
CHARLES DAVIS 


hk ig bre eh 


SON of General Amasa (q.v.) and Sarah (Whitney) Davis of 
Boston. He was graduated from Harvard College in 1796, and 
married in 1803 Eliza Bussey (q.v.) of Boston. 


Boston, 1808. Panel, 324 x 26% inches. Half-length. Turned three-quarters 
right, and seated in a gilt Empire armchair upholstered in red velvet. His keen, 
penetrating eyes, directed to the spectator, are dark blue, his complexion brilliant, 
and his expression genial and complaisant. His hair, thin on top of the head, is 
curly and light brown, with long, loose curls on the high forehead. He wears a 
high-collared black velvet coat, a white neckcloth, and a starched frilled shirt. His 
right elbow rests on the arm of the chair, and his partially closed right hand is 
shown. The background is plain and of a grayish-brown tone. 

Painted for his father-in-law, Benjamin Bussey (1757-1842), it passed to 
Mrs. Bussey (1762-1849), and at her death to her granddaughter, Mr. Davis’ 
daughter, Maria Bussey Davis (1814-1894) of “Woodland Hill,” Jamaica Plain, 
Massachusetts, wife of Thomas Motley. At Mrs. Motley’s death it became the 


259 


CHARLES DAVIS 


property of her son, Thomas Lawrence Motley (1835-1909) of Groton, Massa- 
chusetts, and at his death passed to his daughter, Maria Davis Motley, widow of 
Lawrence Park, Esq., of Groton. 


ExHIBITED— September, 1915, to September, 1916. 
At the exhibition of Stuart’s portraits, Bos- A copy, made by Edgar Parker about 1885, 
ton, 1828, No. 186. is owned by Mr. Davis’ great-grandson, 
At the Museum of Fine Arts, Boston, from Charles Motley Clark, Esq., of Boston. 
[ Zllustrated | 


( 215 )s 


MRS. CHARLES DAVIS 
1783-1841 


Bee daughter of Benjamin (q.v.) and Judith (Gay) Bussey (q.v.) 
of Boston and “Woodland Hill,” Jamaica Plain, Massachusetts. 
She married in Boston in 1803 Charles Davis (q.v.) of Boston. 


Boston, 1808. Panel, 3278x264 inches. Life-size, half-length, showing her 
seated in an easy attitude, three-quarters left, in a gilt Empire armchair, uphol- 
stered in rich old rose velvet, with her gray-blue eyes to the spectator. She wears a 
short-sleeved, high-waisted, low-necked, black velvet gown, trimmed about the 
neck with narrow white lace. Her light brown hair is parted on her forehead and 
worn in large ringlets at her temples. Her coloring is brilliant. A cord of black 
velvet passes around her head. Her hands rest on her lap, with the fingers inter- 
locked and her right forearm lies upon a cushion of the same shade as the chair 
covering. The background is plain and of brown tones. 

Painted for her father, her portrait remained in his possession until his death in 
1842, when it passed to her mother, and at her death in 1849 it was inherited by 
Mrs. Davis’? daughter, Maria Bussey Davis (1814-1894), wife of Thomas 
Motley (1812-1895) of “Woodland Hill.” At Mrs. Motley’s death, it became 
the property of her daughter, Judith Eleanor Motley, wife of Edward Gilchrist 
Low of Brookline, Massachusetts, and Mrs. Low gave it in 1909 to her niece, 
Maria Davis Motley, widow of Lawrence Park, Esq., of Groton, Massachusetts, a 
great-granddaughter of Mrs. Davis. 


260 


MRS. CHARLES DAVIS 


ExHIBITED— At the Worcester Art Museum from De- 
At the exhibition of Stuart’s portraits, Bos- cember, 1921, to January, 1922. 
ton, 1828, No. 187. A copy, made by Edgar Parker about 1885, 
At the Museum of Fine Arts, Boston, from is owned by Mrs. Davis’ great-grandson, 
September, 1915, to September, 1916. Charles Motley Clark, Esq., of Boston. 
[ Illustrated | 


-( 216 ): 


MRS. ELEANOR DAVIS 
Died 1825 
HE became the wife of a Mr. John Derby. 


According to Mason, her portrait was painted prior to 1820 and was owned in 
1879 by her grandson, Doctor G. C. Shattuck of Boston. From the latter it passed 
to his son, Doctor George Brune Shattuck of Boston. It is a very poor example of 
Stuart’s work. 


ExuiBiTep at the exhibition of Stuart’s portraits, Boston, 1828, No. 159. 


( 217 )s 
MRS. ISAAC P. DAVIS 
1784-1867 
AND HER SISTER 
MRS. BERNARD HENRY 
1789-1876 


RS. DAVIS was Susan Jackson, and Mrs. Henry was Mary Miller 
Jackson, daughters of Doctor David and Susan (Kemper) Jack- 
son of Chester County, Pennsylvania. Susan Jackson married, in 1807, 


261 


MRS. ISAAC P. DAVIS 


Isaac P. Davis (1771-1855) of Boston, a very intimate friend of Stuart, 
and Mary Miller Jackson married Bernard Henry of Philadelphia. 


Boston, c. 1806. Panel, 2612x26% inches, framed in a circular mat, 2378 
inches in diameter. Mrs. Davis, the head at the right of the picture, is shown with 
a smiling face, brown eyes and hair, and a fresh complexion, with her head slightly 
tilted towards the right. Mrs. Henry has a fresh complexion, but eyes of a darker 
brown, and her brown hair has a reddish tinge, and her expression is serious. Only 
the heads are finished, the rest of the panel being covered with a tone of greenish- 
gray. A section of the panel measuring 10) inches in height by 8% inches in 
width and enclosing Mrs. Henry’s head was at some time cut out of the panel by 
Stuart as he was not satisfied with it.* He then had a piece of wood set into the 
opening on which he painted the head. “The sisters look like mere girls, and they 
are very pretty girls, to whose charms Stuart has done full justice. There is a 
flowerlike freshness and delicacy of complexion which is peculiar to this able por- 
traitist’s palette, and the soft curling brown hair brought down over the forehead 
in little wavy spirals in the fashion of the time, with the limpid brown eyes and the 
subtle curves of the lips, are in Stuart’s most attractive manner.” —W. H. Downes, 
Boston Transcript, December 26, 1917. 

This painting, which seems to have belonged to Mrs. Davis, was inherited at her 
death by her niece, Helen Susan Henry, wife of the Honorable Frederick Octavius 
Prince (died 1899 ) of Boston, who left it to her husband, who, in turn, bequeathed 
it to his son, Gordon Prince of Boston, who left it to his widow. It belongs at pres- 
ent to her estate, and since 1917 it has been deposited in the Museum of Fine Arts, 
Boston. 


EXxHIBITED— * This piece of panel, now measuring 514 x 
At the exhibition of Stuart’s portraits, Bos- 5% inches, is owned by W. Barklie Henry 
ton, 1828, No. 35. of Philadelphia. (See “Mrs. Bernard 
At the Boston Atheneum, 1856, 1871, 1880. Henry.”) 
| Zllustrated | 


262 


-( 218 ): 


MRS. ISAAC P. DAVIS 
1784-1867 


AND HER SISTER 
MRS. BERNARD HENRY 
1789-1876 
Mrs. Henry R. Dalton of Boston owns a sketch of the heads of these two ladies, 
measuring about ten inches in height and sixteen inches in width. 


Not listed in Mason. 


( 219 »)s 


WILLIAM DAVIS 
1759-1820 


E was a son of Thomas Davis, 2nd, of Plymouth, Massachusetts, 

and his wife Mercy Hedge, and older brother of Stuart’s intimate 
Boston friend, Isaac P. Davis. He was a shipowner and West India 
merchant, and married in 1781 Rebecca Morton (q.v.) of Plymouth, 
Massachusetts. 

Boston, 1825. Canvas (s), 2934x2438 inches. Mr. Davis is shown seated, 
three-quarters left, at the end of an Empire sofa of gilded wood, upholstered in 
red, his left arm thrown over the arm of the sofa, but no hands appearing. His 
genial blue eyes gaze directly at the spectator. He wears a black velvet coat, thrown 
open, exposing a black silk waistcoat. About his neck is a white neckcloth, and 


below a frilled shirt. His large head, with a high forehead, is crowned with thin, 
wavy, white hair, and the complexion of his round, fleshy face is pink and white. 


263 


WILLIAM DAVIS 


A smile lurks about the mouth. The background is plain and of a light greenish- 
gray or light olive. 

The portrait was painted probably as a wedding gift for Mr. Davis’ daughter, 
Elizabeth Davis (1803-1886), who married, first, in 1825, Alexander Bliss 
(d. 1827) of Boston, and second, in 1838, George Bancroft (1800-1891), the 
historian and statesman. At Mrs. Bancroft’s death in Washington in 1886, the 
portrait passed to her husband, and at his death was inherited by her son by her first 
husband, Alexander Bliss (1827-1896) of Washington, and at his death by his 
son, William Julian Albert Bliss, Esq., of Baltimore, Maryland. 


EXxHIBITED— 
At the exhibition of Stuart’s portraits, Bos- ciety of Baltimore,” March, 1902, by Mr. 
ton, 1828, No. 89. William J. A. Bliss. 
At the Museum of Fine Arts, Boston, in Note: This is the same picture listed by 
1880. Mason under this title, but he also lists it 
At the Baltimore Art Loan Exhibition, erroneously as Morton Davis, thus mak- 
“under auspices of the Municipal Art So- ing two portraits out of one. 
[ Zllustrated | 
-( 220 ): 


MRS. WILLIAM DAVIS 
1762-1847 


HE was Rebecca, daughter of Nathaniel and Rebecca (Jackson) 

Morton of Plymouth, Massachusetts. She married William Davis 
(q.v.) of Plymouth, and after his death lived with her daughter in 
Boston, and died there. 


Boston, 1825. Canvas (s), 2934 x 243% inches. Mrs. Davis sits nearly full front, 
but slightly turned toward her left, in an armchair of gilded wood upholstered in 
red. She wears a simple gray silk dress, open at the neck and filled in with white 
material and a white ruffle, leaving the throat open. A white lace shawl, fallen from 
the shoulders, appears on each forearm. Upon her head, low on her forehead and 
completely covering her ears, she wears a round lace cap with a silk band and 
trimmed about the edge with a white ruffle. Below the cap, on her forehead, a few 


264 


MRS. WILLIAM DAVIS 


curls of light brown hair are shown. Her blue eyes are directed to the spectator, 
and while her expression is not severe, it is somewhat less genial than that of her 
husband. Her complexion is rosy. The background is plain, and of a light greenish- 
gray or light olive tone. 

Mrs. Davis’ portrait, the history of which is identical with that of her husband’s, 
is owned by William J. A. Bliss, Esq., Baltimore, Maryland. 


ExuIBITED at the Art Loan Exhibition, Nore: This picture is erroneously listed by 
Baltimore, “under Auspices of The Mu- Mason under the name of Mrs. Morton 
nicipal Art Society of Baltimore,” March, Davis. 

1902, by William J. A. Bliss. 
| Zllustrated | 


(221 ) 


COLONEL THOMAS DAWES 
1731-1809 

HOMAS DAWES, son of Thomas and Sarah (Underwood) 

Dawes of Boston, was fifth in descent from William Dawes, a set- 
tler of 1635. By trade he was a mason and became one of the first great 
mechanics of Boston. Among other buildings he was architect of the 
State House and of the Old Brattle Street Church; he laid the corner- 
stone in 1772 and did half the mason work, and he also helped to build 
the Eustis Mansion for Governor Shirley. In 1771 he was major of the 
“Boston Regiment,” and in 1773 colonel. In 1752 he married Hannah, 
daughter of Increase and Ann Gray Blake. Their house was on Purchase 
Street, next door to Samuel Adams. In his later years Colonel Dawes was 
director of the Massachusetts National Bank. 


Boston, c. 1806. Panel, 32x26 inches. Half length, seated, three-quarters to 
the left, in a gilded upholstered chair. He wears a black coat, a white neckcloth, 


265 


COLONEL THOMAS DAWES 


and a gray wig with rolls over his ears and tied with a queue bow. His eyes are 
yellowish-brown and his complexion is ruddy. With his left hand he holds a book, 
the title of which is “Palladio.” In the background is a dark curtain which, draped 
back at the left, reveals the base of a column and a cloudy sky. 

This portrait was inherited by his son, Judge Thomas Dawes, who left it, 
together with the Stuart portrait of himself, to his daughter, Mrs. James Haywood 
of Roxbury, Massachusetts. About 1844, through some family agreement, they 
came into the possession of Thomas Dawes Eliot (1808-1870), a grandson of 
Judge Dawes, who bequeathed them to his widow, Frances Lincoln (Brock) Eliot. 
At her death, in 1900, the portraits passed to her daughter, Caroline (Dawes) 
Eliot (1835-1921), wife of Thomas Meriam Stetson, who bequeathed them to 
her son, the present owner, Frederick Dudley Stetson, Esq., of New Bedford, 
Massachusetts, a great-great-great-grandson of Colonel Thomas Dawes. 


Exuisirepat the exhibition of Stuart’s por- Ride with Paul Revere,” by Henry W. 
traits, Boston, 1828, No. 80. Holland, Boston, 1878, facing page 60. 
ReEpropucep in “William Dawes and His 


[ Zllustrated | 


D2. SPs 


JUDGE THOMAS DAWES 


I7S7e ise 


SON of Colonel Thomas (q.v.) and Hannah (Blake) Dawes of 

Boston, Massachusetts. He was graduated from Harvard College 

in 1777, and in 1781 married Margaret Greenleaf (1761-1836). He 

was a member of the Massachusetts Convention in 1780 and again in 

1788; judge of the Massachusetts Supreme Court from 1792 to 1802, 
and judge of the Probate Court from 1802 until his death. 


Boston, c. 1806. Panel, 32x26 inches. This half-length portrait shows the 
subject seated, turned three-quarters to the right, in a gilded armchair upholstered 


266 


JUDGE THOMAS DAWES 


in red, his right hand grasping the arm of the chair and his left hand resting on his 
lap. He is leaning slightly forward and his dark brown eyes are directed to the 
spectator. His hair, worn short, is gray and his complexion ruddy. He wears a dark 
coat and double-breasted waistcoat, a white neckcloth and ruffled shirt. The plain 
background is dark green. 

The history of this portrait is the same as that of the Stuart portrait of Colonel 
Thomas Dawes and it is now owned by Frederick Dudley Stetson, Esq., of New 
Bedford, Massachusetts. 


Exuisirepat the exhibition of Stuart’s por- Ride with Paul Revere,” by Henry W. 
traits, Boston, 1828, No. 88. Holland, Boston, 1878, facing page 70. 
Repropucep in “William Dawes and His 
[ Illustrated | 


SPRUE 
JAMES MASSY DAWSON 


1730-1790 
ORN in Ballinacourte, Ireland; the son of Hugh and Mary 


(Dawson) Massy. He married Mary (d. 1805), daughter of John 
Leonard of Carha, County Galway, and Brownstown, County Kildare. 


Dublin, c. 1788. Panel, 2834 x 23% inches. He is shown bust, with body three- 
quarters to the left, and head almost profile. His eyes are gray and his powdered 
hair is tied in a queue bow. He wears a very dark blue coat, a white waistcoat, a 
white neckcloth, and 7a4o¢. The background is plain, of brownish-gray tones. 

This portrait was acquired from the estate of Lord Massy, “The Grove,” 
Fetard, Tipperary, Ireland, in 1919. It is now owned by Thomas B. Clarke, Esq., 
of New York. 

ExuIBITED at the Union League Club, New York, ae 1922 (14). 
Not listed in Mason. 
[ Illustrated | 


267 


‘(224 ) 
MAJOR-GENERAL HENRY DEARBORN 
1751-1829 


E was a son of Simon and Sarah (Marston) Dearborn of North 

Hampton, New Hampshire. He served in the Revolution—at 
Bunker Hill, Monmouth, Ticonderoga, Yorktown and in other im- 
portant battles. He was Secretary of War from 1801 to 1809, Major- 
General in 1812, and Minister to Portugal in 1822. He married in 1780 
Dorcas Osgood, his first wife, Mary Bartlett, having died in 1778, and in 
1813 he married, thirdly, Sarah (q.v.), the widow of James Bowdoin. 


Boston, 1812. Panel, 287°5 x 2234 inches. He is shown bust, three-quarters left, 
with his blue eyes directed to the spectator. His complexion is ruddy, and his hair 
white or powdered. He wears a dark blue coat with gold oak-leaf trimmings, and 
gilt epaulettes. A crimson strap crosses his breast from the right shoulder, and the 
blue ribbon of the Order of the Cincinnati is pinned to his left breast immediately 
under the lapel of the collar. The background is a dark slate color, shading to light 
blue near the head. 

This portrait, the original from life, was inherited by his son, General Henry 
Alexander Scammell Dearborn (q.v.) of Roxbury, Massachusetts, and at his 
death by his son, Henry George Raleigh Dearborn (1809-1884) of Roxbury 
(until it passed into the possession of the latter, the portrait had hung in the house 
of the subject’s widow, on the corner of Milk and Hawley Streets, Boston, and first 
hung in the Brinley house, in Roxbury, General Dearborn’s home), and then 
passed to his widow, Sarah Maria Dearborn. She sold it in 1886 to sixteen members 
of the Chicago Commercial Club, who on May 20, 1886, presented it to the Calu- 
met Club of Chicago. When the Calumet Club dissolved it was purchased by 
M. Knoedler & Co. of New York, who, in 1914, sold it to the Art Institute of 
Chicago. 


ExHIBITED— At the Chicago Art Institute, in January, 
At the exhibition of Stuart’s portraits, Bos- 1905, by the Calumet Club. 
ton, 1828, No. 197. REPRODUCED— 
At the Bostonian Society’s Rooms, in Old In half-tone,in the Fine Arts Journal,1913, 
State House, Boston, in 1886. Vol. XXIX, page 717. 


268 


In half-tone, in the Bulletin of the Chicago ett for the War Department at Washing- 


Art Institute, April, 1914. ton; one by U. D. Tenny for the State 

In half-tone, in “American Pictures and House at Concord, New Hampshire; one, 
their Painters,” by Lorinda M. Bryant, probably by Greenleaf, for the Boston 
1920, facing page 30. Museum; and one owned by the Chicago 

There are five copies of this picture besides Historical Society. (This latter is repro- 
the two replicas by Stuart (q.v.): one by duced, in half-tone, oval, in G. C. Lee’s 
Joseph G. Cole, made at the request of “History of North America,” Vol. 12, 
Colonel Joshua Howard of Dearborn- facing page 189.) 


ville, Michigan; one by Walter M. Brack- 
[ Illustrated | 


( 225 ) 
MAJOR-GENERAL HENRY DEARBORN 


1751-1829 


Roxbury, 1812. Panel (s), 2778 x 2234 inches. This replica of the preceding 
picture shows him bust-size, three-quarters left, with his light blue eyes directed 
to the spectator. His complexion is ruddy, and he has gray or powdered hair and 
gray sidewhiskers. He wears a major-general’s uniform, with the black coat with 
high coat-collar, gold epaulettes,and gold oak-leaf decorations on the collar, lapels, 
and down the breast; standing white collar; black satin stock; and white muslin 
shirt frill. A crimson sash crosses the breast from the right shoulder, on which is an 
oval gold or brass badge. A greenish-blue silk ribbon is tied in a bow on the breast, 
from which hangs the medal or insignia of the Society of the Cincinnati. The plain 
background, of reddish-browns and greenish-blues, represents a smoky sky with 
clouds. : 

This portrait was inherited by his daughter Julia Dearborn (1780-1867), wife 
of Joshua Wingate of Portland, Maine, then by her daughter Julia Octavia 
Wingate (1800-1877), wife of Charles Quincy Clapp of Portland, then by her 
daughter Georgianna Wingate Clapp (1822-1895), wife of Winthrop Gray Ray 
of New York City, and then by her daughter Mary Gray Ray (1846-1917) of 
Portland, Maine. In 1917 she bequeathed it to the Portland (Maine) Society of 
Art (L. D. M. Sweat Memorial), in memory of her mother. 


ExuIBITED at the Metropolitan Museum REPRODUCED, in half-tone, in the Ameri- 
of Art, New York City, in 1895. can Art News, March 31, 1917. 


269 


-( 226 )- 
MAJOR-GENERAL HENRY DEARBORN 
1751-1829 


Boston, 1812. Panel, 28x2234 inches. This picture, a replica, but not in 
uniform, shows him bust, three-quarters left, with his blue eyes directed to the 
spectator. He is simply dressed in a brownish-black, high-collared coat, with the 
edges of his waistcoat showing upright at his throat, and a white neckcloth and 
ruffed shirt frill. His short gray hair comes to a kind of point on top of his head, 
and a faint smile lingers in the corners of his mouth. The ribbon of the Order of 
Cincinnati is fastened on his left breast. His hands are not shown. The background 
is plain. Of this picture, Mr. J. Nilsen Laurvik says, in an article in the Century 
Magazine for September, 1915, on “Evolution of American Painting”: [It] 
“reveals Stuart’s uncommon powers of characterization as well as his accom- 
plished craftsmanship. The hand of the master is in every stroke, and the whole 
is imbued with a profound dignity achieved only by the great masters of por- 
traiture, with whom Stuart will surely rank when the world comes to know and 
esteem his art at its proper value.” 

On the back of the canvas is written in John Neagle’s hand: “Portrait of Maj. 
Gen. Henry Dearborn, by G. Stuart.” 

This portrait was originally owned by John Neagle (1799-1865), the artist, a 
pupil of Stuart’s. From him it passed to his son, Garrett Neagle, who sold it to the 
Honorable John Welsh of Philadelphia, who in turn gave it to his son Herbert 
Welsh, Esq., of Philadelphia. He sold it in 1920 to Arthur Meeker, Esq., of 
Chicago. 


ExHIBITED— 
At the Seventh Annual Exhibition of the sor’s “Memorial History of Boston,” 
Artists’? Fund Society of Philadelphia, in 1881, Vol. III, page 574. 
1842, by John Neagle. REPRODUCED, in half-tone, in The Century 
At the Loan Exhibition of Historical Por- Illustrated Magazine, for September, 
traits, held at the Pennsylvania Academy 1915, Vol. XC, No. 5, page 777. 
of the Fine Arts, Philadelphia, from De- Two copies of this portrait were made by 
cember 1, 1887, to January 15, 1888. Herbert Welsh, one of which is owned by 
At the Panama-Pacific International Expo- Miss Anne Frances Harrod Boyd of Port- 
sition at San Francisco, California,in 1915. land, Maine, and the other by the Port- 
ENGRAVED, on wood, by Kilburn, for Win- land Historical Society. 


270 


( 227 )s 


MAJOR-GENERAL 
HENRY ALEXANDER SCAMMELL 
DEARBORN 


1783-1851 


E was a son of General Henry Dearborn (q.v.) by his wife, Dorcas 

Osgood, and was born in Exeter, New Hampshire. He was grad- 

uated in 1803 at William and Mary College, Virginia, and married in 

1807 Hannah Swett Lee (q.v.) of Marblehead. He was a lawyer, Col- 

lector of the port of Boston from 1813 to 1830, and Mayor of Roxbury 
from 1847 to 1851. 


Boston, c. 1812. Panel, 28 x 22% inches. He is shown bust, three-quarters left, 
with his pleasant light brown eyes directed to the spectator. His hair is reddish- 
brown, and his complexion dark and ruddy. He wears a deep-brown coat with a 
brown fur collar, above which show glimpses of a buff waistcoat, and a loosely 
knotted white neckcloth fills in the V of his buttoned waistcoat. The background 
is a dark clouded brown, shading toward the top of the picture, particularly about 
the right cheek, into Gobelin blue. 

At his death in Portland his portrait passed to his widow and at her death in 
Roxbury in 1869 it became the property of her son, Henry George Raleigh Dear- 
born (1809-1884) of Roxbury, and at his death to his widow (d. 1890), and then 
toa granddaughter of the subject, Miss Mary Julia E. Clapp of Portland, Maine. 
She bequeathed it to Bowdoin College, Brunswick, Maine, in 1917, subject to one 
life interest which was waived. 


ExuHIBITED at the exhibition of Stuart’s portraits, Boston, 1828, No. 199. 


[ Illustrated | 


ani 


-( 228 ): 


MRS. HENRY ALEXANDER SCAMMELL 
DEARBORN 


1784-1869 


HE was Hannah Swett Lee, daughter of Colonel William Raymond 
and Hannah (Tracy) Lee of Marblehead, Massachusetts, and mar- 
ried, in 1807, Henry Alexander Scammell Dearborn (q.v.). 


Boston, c. 1812. Panel, 28x22 inches. She is shown bust, three-quarters 
right, with her dark brown, snapping eyes directed to the spectator. Her hair is 
dark brown, and her complexion blooming. Her white gown is close-fitting, un- 
girdled, square-cut and low-necked, with short puffed sleeves trimmed with simply 
plaited white ruching, and wrinkles across the body, beneath the line of the bosom. 
A camel’s hair shawl of rich red over her left shoulder has slightly fallen, and con- 
ceals her right arm. Her hands are not shown. In her right ear is seen a carnelian 
earring, flat and nearly lozenge-shaped, and bordered with pearls. The background 
consists of two brown columns rising from a parapet. Against the central column is 
drawn up acurtain of a lighter yellowish-brown tone with stiff cords depending, an 
ornamental end of which falls upon the parapet, and beyond are white clouds and 
blue sky. 

Her portrait was inherited by her daughter, Julia Margaretta Dearborn (1808— 
1880), wife of the Honorable Asa W. H. Clapp (1805-1891) of Portland, 
Maine, and from her to her daughter, Mary Julia E. Clapp (d. 1917) of Portland, 
who bequeathed it to Bowdoin College, Brunswick, Maine, subject to one life 
interest which was waived. 


EXHIBITED at the exhibition of Stuart’s portraits, Boston, 1828, No. 198. 


| Illustrated | 


2712 


(229 ): 
COMMODORE STEPHEN DECATUR 


1779-1820 


ORN in Sinnepuxent, Maryland; son of Stephen Decatur, who was 
B a post-captain in the United States Navy, and during the troubles 
with France commanded the West Indian squadron. In 1798 Stephen 
the younger was commissioned a midshipman in the United States Navy, 
soon distinguishing himself as a youth of unusual talent and bravery. 
Promoted to bea lieutenant in 1799, he was in active service in the Med- 
iterranean until 1805, and was also active in the War of 1812. In 1815 
Decatur commanded one of the two fleets operating against Algiers and 
succeeded in concluding treaties with Algiers, Tunis and Tripoli which 
ended the baneful domination of the Barbary powers. From 1816 to 
1820 he wasa member of the newly created naval commission. In 1806 
he married Susan Wheeler (q.v.). Challenged to a duel by Commodore 
James Barron, he was fatally wounded March 22, 1820, at Bladensburg, 
Maryland. 


Boston, c. 1814. Canvas, 30x25 inches. He is shown bust, three-quarters left, 
with his dark brown eyes directed to the spectator. His hair, with ringlets on his 
forehead, and his sidewhiskers are dark brown. He wears a dark blue uniform 
trimmed with gold braid on the collar and with frogs on the coat; gold epaulettes; 
white standing collar; black stock and white shirt frills. A plain dark background. 

At Commodore Stephen Decatur’s death his portrait by Stuart was given by his 
widow to his brother, Colonel John Pine Decatur (1786-1832), who bequeathed 
it to his daughter, Anna Pine Decatur (1812-1896), wife of William H. Parsons, 
who left it to her son, William Decatur Parsons, Esq., of New York City, the 
present owner. 


ENGRAVED— In stipple, by David Edwin, 3.12 x 3.2 
In stipple, by David Edwin, for the Ana- inches. (Stauffer, 749.) 
lectic Magazine, 1813. 3.12 X 3.1 inches. In stipple, by Thomas Gimbrede, 3.10x 3.1 
Two states (Stauffer, 748). inches. Two states (Stauffer, 1049). 


273 


COMMODORE STEPHEN DECATUR 


The portrait of Commodore Stephen Deca- 
tur in the Metropolitan Museum of Art, 
New York City (Charles Allen Munn 
Collection), was supposed to be by Stuart, 
although there was a division of opinion 
about it. In the Bulletin of the Metropol- 
itan Museum for January, 1925, we read 
the following: “The portrait of Commo- 
dore Stephen Decatur is a somewhat puz- 
zling work. There are Stuart portraits 
of Decatur in the collections of Robert 
Bryan of Richmond, Virginia, and of 
William Decatur Parsons of New York. 


The Museum’s painting from the Munn 
Collection appears to be a copy after one 
of these and was possibly painted by Rem- 
brandt Peale but more likely by Trum- 
bull,some of the earmarks of whose style, 
such as the use of black in the flesh paint- 
ing, are here noticeable.” 


A copy was made for Commodore Stephen 


Decatur, U.S.N. (1814-1876) ,a nephew 
of the subject, and this copy was exhib- 
ited in 1863 at the Boston Athenzum. It 
is now owned by his son, Stephen Deca- 
tur, of Kittery Point, Maine. 


[ Zllustrated | 


( 230 »< 
COMMODORE STEPHEN DECATUR 
1779-1820 


Boston, c. 1815. Canvas, 30/4 x25% inches. He is shown bust, three-quarters 
left, with his brown eyes directed to the spectator. His curly hair is brown, as are 
his sidewhiskers. He wears a white standing collar, a high-collared black coat with 
brass buttons, a black stock and white lace frill projecting from his coat, and a 
white waistcoat shows at the bottom of the picture. The background is warm with 
flame-colored smoke at the left. It is inscribed on the back: “Commodore Stephen 
Decatur || This portrait was presented || by Mrs. Decatur to || John Randolph || 
of Roanoke.” 


The portrait is owned by Robert Bryan, Esq., of Richmond, Virginia. 


Not listed in Mason. 


274 


( 231 »)s 
MRS. STEPHEN DECATUR 
1776-1860 


HE was Susannah, daughter of Luke Wheeler of Norfolk, Virginia, 

a rich merchant of that city. She married, in 1806, Commodore 
Stephen Decatur (q.v.). During the last years of her life she resided in a 
cottage on the grounds of Georgetown College. 


Washington, c. 1803. Canvas, 2834 x 2358 inches. She is shown half-length, 
three-quarters right, with her brown eyes directed to the spectator. Her chest- 
nut hair is worn in curls on her forehead and a knot on top of her head. She is 
dressed in a low square-necked white gown, with short sleeves, and a white cord 
around the waist. A salmon-pink shawl over her left shoulder conceals her left arm 
and passes under her right arm, across her lap. The background is plain and of 
greenish-brown tones. 

At Mrs. Decatur’s death, the greater part of her belongings went to George- 
town College, and it would appear that her portrait was sold to a gentleman of 
Baltimore. At his death, about 1890, it was purchased by the Reverend Doctor 
Charles R. Hale, Episcopal Bishop of Cairo, Illinois, for his wife’s mother, Mrs. 
Priscilla McKnight Twiggs (1802-1890), widow of Major Levi Twiggs, 
United States Marine Corps, a niece of Commodore Decatur. At Mrs. Hale’s 
death, Mrs. Twiggs went to live with another daughter, Fredericka Twiggs Get- 
chell (1840-1914), wife of Doctor Frank H. Getchell, and bequeathed the por- 
trait to her, and she left it to her daughter, the present owner, Miss Lillie Shippen 
Getchell of Philadelphia, who deposited it, in 1923, in the Pennsylvania Academy 
of the Fine Arts, Philadelphia. 


[ Zllustrated | 


275 


( 23 2 )s 
ABISHA DELANO 
170261030 
Noe of Thomas and Elizabeth (Swain) Delano of Nantucket, 


Massachusetts. He was a sea captain sailing from New Bedford. 
In 1794 he married Elizabeth Hammatt (q.v.), and in 1810 he removed 
with his family to Charlestown, New Hampshire, and took up farming. 

Boston, c. 1818. Canvas, 26 x 22 inches. He is shown bust, three-quarters to the 
left, with his blue eyes turned to the spectator. Bald head, with dark brown hair 
standing up around the crown, full face and very florid complexion. He wears a 
black coat with bright brass buttons over a light-colored waistcoat. The back- 
ground is dark gray. 

His portrait was painted for his daughter, Sarah Fitch Delano (d. 1878), wife 
of Samuel Gideon Williams (1786-1871 ), who bequeathed it to her son, William 
Roscoe Williams (1836-1907) of Boston. In February, 1890, it was bought by 
Warren Delano of Newburgh, New York, for the Fairhaven Homestead. 


( 233 »)s 
MRS. ABISHA DELANO 


1779-1858 
ees HAMMATT, daughter of Judge William and Hepzibah 
(Barker) Hammatt of Nantucket, Massachusetts. She married 
Abisha Delano (q.v.) in 1794. 
Boston, c. 1818. Canvas, 26 x 22 inches. She is shown bust, three-quarters to the 
right. She wears a black dress, of which only the front is seen, as over her shoulders 
and arms is a scarlet shawl edged with gold embroidery. Around her neck isa ruff 


which stands out stiffly but not ungracefully. Her complexion is fair and her eyes 
are light brown. Very little of her auburn hair is seen under the frill of a lace cap 


276 


MRS. ABISHA DELANO 


or bonnet which completely encloses her face and is tied at her throat with a black 
ribbon. The background is dark gray. 

The portrait was painted for her daughter, Sarah Fitch Delano (d. 1878), the 
wife of Samuel Gideon Williams (1786-1871). It was inherited by their son, 
William Roscoe Williams (1836-1907) of Boston, who sold it about 1897 to his 
cousin, Mrs. William Heath (Eliza Bond Swan) of Paris (1835-1903). She 
bequeathed it to her son, Wilson G. Hunt Heath, Esq., of Paris, the present owner. 
EXHIBITED at the Museum of Fine Arts, Boston, in 1880. 


( 224 )s 
THOMAS DENNIE 
1756-1842 
HOMAS DENNIE was the son of John and Sarah (Wendell) 
Dennie of Boston. He was a merchant of Boston and a member of 
the frm of Thomas Dennie & Company. In 1778 he married Sarah 
Bryant (q.v.). 


Boston, 1818. Canvas, 29 2x24) inches. A bust portrait. He is turned three- 
quarters to the left, with his dark blue eyes directed towards the spectator. His 
hair, tied in a queue bow, is white, and his complexion is ruddy. He wears a dark 
blue coat with brass buttons, a white waistcoat, neckcloth and ruffled shirt. The 
background is plain. 

This portrait and that of his wife were inherited by his son, James Dennie 
(1785-1857) of Boston, and then by his son, James Dennie (1822-1905) of 
Boston, who bequeathed to the Museum of Fine Arts, Boston, the portraits of his 
grandfather and grandmother Dennie “painted by Gilbert Stuart,” this bequest to 
take effect on the death of his last surviving daughter. At his death the portraits 
became the property of his daughters, the Misses Ellen Martin and Sophia Tracy 
Dennie of Cambridge, Massachusetts. Upon the death of the latter, in 1912, 
Miss Ellen Martin Dennie became sole owner. 

EXHIBITED— 
At the exhibition of Stuart’s portraits, Boston, 1828, No. 143. 
At Museum of Fine Arts, Boston, 1905. 

| Zllustrated | 


277 


( 235 )s 
MRS. THOMAS DENNIE 
1760-1827 


ARAH BRYANT, a daughter of James and Esther (Kidder) 
Bryant. In 1778 she married Thomas Dennie (q.v.). 


Boston, 1818. Canvas, 2912x24% inches. She is shown half-length, seated 
three-quarters to the right, with her grayish hazel eyes looking towards the spec- 
tator. Her hair, almost entirely concealed by a mob cap of tulle and lace, is 
medium brown. She wears a dull grayish-blue silk dress with a belt of the same 
material tied in a bow in front. The neck of the dress is trimmed with a triple 
ruffle of exquisite lace. Draped around her and partially concealing her arms is a 
shawl, the center of which is of a darker blue than the dress, yet harmonizing with 
it. The shawl has a border of daisies in shades of gray, red, green and yellow and a 
dark bluish gray fringe. The dark background is plain. 

This portrait is now owned by Miss Ellen Martin Dennie of Cambridge, Massa- 
chusetts; its history is the same as that of Mr. Thomas Dennie’s portrait by Stuart. 


ExHIBITED— 
At Copley Hall, Boston, at “Loan Collection of Portraits of Women,” March 11-31, 1895. 
At Museum of Fine Arts, Boston, 1905. 


| Illustrated | 


( 236 )s 
CHEVALIER D’EON 
1728-1810 


E was Charles Genevieve Louise Auguste Andrée Timothée, 
Chevalier D’Eon de Beaumont, French diplomatist, and minister 
plenipotentiary to Great Britain. On his return to France, about 1777, 
the French Government required him to assume female dress, which he 
wore for the rest of his life. 


278 


CHEVALIER D’EON 


London, 1792. Canvas (s), 30x24 inches. He is shown, bust, seated, three- 
quarters left, in an Empire chair upholstered in red, with his dark gray eyes di- 
rected to the spectator. He wears a large high-crowned, wide-brimmed black hat, 
with a large tricolored bow at the left side from which spring white ostrich plumes. 
His white or powdered hair is worn low on the neck and brushed away from the 
temples, and his neck and throat are exposed. His dress is black with a wide muslin 
fichu trimmed with a white lace border. On his left breast is fastened a red bow of 
ribbon from which depends the Order of St. Louis. The plain background is of 
clouded olive-green tones. On the back of the canvas is the signature: “‘G. Stuart, 
i Asp Pag 

The portrait was presented by Francis Rawdon (1754-1826), Earl of Moira, 
for whom it was possibly painted, to Doctor John Macnamara Hayes (c. 1750— 
1809 ), physician extraordinary to the Prince of Wales, who was created a Baronet 
in 1797. At his death it passed to his son, Sir Thomas Pelham Hayes (1794-1851), 
second Baronet, and then to his brother, Sir John Warren Hayes (1799-1896), 
third Baronet, and then to his daughter, Ellen Anne, wife of John Simonds, Esq., 
of Newlands, Arborfield, Reading, England. She bequeathed it to her husband, 
with remainder to their eldest son. 


Not listed in Mason. 
[ Illustrated | 


( 237 )s 
CAPTAIN JOHN DERBY 
VEG PURE a ihe Fe 


_ASON of Richard (1712-1783) and Mary (1713-1770) (Hodges) 

Derby of Salem, Massachusetts. He inarried, first, Hannah Clarke 
(1751-1786) of the Ferneaux-Clarkes of Salem. Her aunt had married 
William Fairfax, the Royal Collector of Customs at Salem, and was the 
mother of the eighth Lord Fairfax, said to be the only peer of England 


279 


CAPTAIN JOHN DERBY 


born in Salem. In 1787 John Derby married, second, Elizabeth Pierce 
(née Cheever), widow of Nathaniel Pierce. He had no children. 


“On April 22, 1775, three days after the Battle of Lexington, the Provincial 
Congress sat at Concord and voted a committee ‘to take depositions in perpetuam 
from which a full account of the transactions of the troops under General Gage in 
the route to and from Concord on Wednesday last may be collected to be sent to 
England by the first ship from Salem.’ Captain Richard Derby seems to have been 
a member of that Congress. He owned a little, fast-sailing schooner called the 
‘Quero,’ of sixty-two tons burden, and to prepare so small a craft for sea would 
take but little time. He offered her to Congress. Captain Richard Derby’s two 
sons, Richard, Jr., and John, enlisted with him in the venture. John, thirty-four 
years old, was to command the ‘Quero.’ In a few days she was ready to sail. 
General Gage’s dispatch by the Royal Express-packet ‘Lukey’ had sailed, but she 
was slow and deepladen. The first difficulty encountered was to get out of port. At 
last, the ‘Quero’ seems to have escaped during the night of April 27-28. The 
Salem Captain reached port after a twenty-nine days’ passage—a good passage in 
those days. Just where he landed is not known. It can hardly have been at South- 
ampton from the fact that the Customs officers in that section could find no trace 
of the ‘Quero.’” In one way or another Captain Derby reached London unmolested 
on May 28 and with his startling intelligence set the Kingdom on fire. No 
American’s advent in London ever produced so real a sensation as did that of a 
Salem sailor, Captain John Derby, in May, 1775. He brought the news of Con- 
cord and Lexington in advance of the King’s messenger, and made it known to the 
British public. Reaching London so soon after the events he claimed to herald and 
coming in a fashion which he did not explain and which they could not under- 
stand, his story seemed to be tainted with suspicion. Walpole dubbed him the 
‘Accidental Captain.’” (Excerpts from ‘The Cruise of the ‘Quero,’” by Robert 
S. Rantoul. ) 

Boston, c. 1809. Panel, 28x 225 inches. He is shown bust, three-quarters to 
the right, with his gray-blue eyes directed slightly to the right of the spectator. 
His complexion is ruddy. He wears a black coat and waistcoat, a white neckcloth 
and frilled shirt. The head, with its snow-white hair tied in a queue bow, and 
bushy dark eyebrows, and kindly face, is brought into relief against a plain back- 
ground of dark reddish-brown tones. 

The receipt for the painting of this portrait, a facsimile of which is reproduced, 


280 


CAPTAIN JOHN DERBY 


is pasted on the back of the portrait and reads as follows: “Boston, May 13th, 1809 
Received of Derby, Esq. one hundred & twenty two Dollars for a portrait in 
frame. G. Stuart.” (See plate 146.) 

This portrait was inherited by Eliza Cheever Davis (1790-1828), wife of 
George Cheyne Shattuck of Boston, then by her son, George Cheyne Shattuck 
(1813-1893) of Boston, who left it to his granddaughter, Mrs. Francis Lee 
Higginson of Boston. The latter sold it in June, 1925, to her uncle, Doctor F. C. 
Shattuck of Boston. 





EXxHIBITED— REPRODUCED— 
At the exhibition of Stuart’s portraits, Bos- In The Century Magazine, 1899, Vol. 36, 
ton, 1828, No. 204. page 716. 
In Museum of Fine Arts, Boston, 1915. In “The Holyoke Diaries,” Salem, rgrt1, 
facing page 109. 
‘ [ Zllustrated | 


( 238 )s 
MRS. RICHARD M. DERBY 


ARTHA COFFIN, daughter of Doctor Nathaniel Foster 
Coffin of Portland, Maine. 


Mrs. Derby sent her portrait by Stuart to her friend, Miss Elizabeth Bordley 
(q.v.) of Philadelphia, in exchange for Miss Bordley’s miniature by Malbone. In 
1879 it was owned by Mrs. Perry of New York, and in 1913 it was in the posses- 
sion of Doctor John G. Perry of Boston. 


( 239 )s 
HUMPHREY DEVEREUX 


1779-1867 
A SON of Doctor Burrill and Elizabeth (Gerry) Devereux of Marble- 
head and a nephew of Elbridge Gerry, signer of Independence. 
He was graduated from Harvard College in 1798 and studied law, but 


281 


HUMPHREY DEVEREUX 


soon abandoned it for an active business life as a merchant of Salem, 
Massachusetts. He lived for some time on the Continent and during the 
War of 1812 was captured by the British and held prisoner in Bermuda 
for many months. In 1809 he married Eliza Dodge (q.v.) of Salem. 


Boston, September, 1817. Panel. The portrait remained in Stuart’s studio until 
1821, waiting to be finished. He is shown bust, seated in a carved armchair, turned 
slightly to the right, with his eyes directed to the spectator. His right hand rests 
on the arm of the chair, while the left hand does not show. His hair is thin and 
brushed forward over the temples, and one lock hangs down onto his forehead. 
He has short sidewhiskers. He wears a high-collared dark coat, with a small 
turned-back cuff on the sleeve, a dark waistcoat, white neckcloth and bow tie. ‘The 
background is plain. 

His portrait was inherited by his daughter, Marianne Cabot Devereux (born 
1812), wife of Nathaniel Silsbee of Milton, Massachusetts, at whose death it 
passed to her son, Nathaniel Devereux Silsbee, Esq. 


REPRODUCED, in heliotype, in “The Pickering Genealogy,” 1897, Vol. I, facing page 276. 
[ Illustrated | 


( 240 )s 


MRS. HUMPHREY DEVEREUX 
1785-1828 
| yraeee DODGE, daughter of Israel and Lucia (Pickering) Dodge 
of Salem, Massachusetts. In 1809 she married Humphrey Dey- 


ereux (q.v.). 


Boston, September, 1817. Panel. The portrait remained in Stuart’s studio until 
1821, waiting to be finished. She is shown bust, seated, turned half-way to the left, 
with her dark brown eyes directed to the spectator. Her short dark hair is worn in 
ringlets over her temples and one curl hangs down onto her forehead. She wears 
a dark dress and around her neck a tight-fitting shirred white collar with a wide 
and finely pleated double ruff. A light shawl with figured border and fringe is 


282 


MRS. HUMPHREY DEVEREUX 


thrown over her shoulders, completely covering her arms. The background is 
plain. On the back of the panel is written: “Portrait of Mrs. Eliza Devereux 
aged 31 years 10 mo. This picture was painted 29th Sept. 1817 by Gilbert Stewart. 
The ead from the upper part of the nose is thought a likeness—the lower part is 
wanting in resemblance. The figure is stiff much too erect and totally unlike. The 
figure from the Ruff downward including drapery, painted anew by Chester 
Harding 1835.” 

Her portrait was inherited by her daughter, Marianne Cabot Devereux (born 
1812), wife of Nathaniel Silsbee of Milton, Massachusetts, and at her death it 
passed to her son, William Edward Silsbee (1846-1908 ) of Boston. 


REPRODUCED, in heliotype, in “The Pickering Genealogy,” 1897, Vol. I, facing page 275. 


[ Illustrated | 


( 241 )s 


VISCOUNT DE VESCI 
Died 1804 


HOMAS VESEY, son of Sir John Denny Vesey, second Baronet 

and first Baron Knapton and his wife Elizabeth Brownlow, daugh- 

ter of William Brownlow (q.v.) of Lurgan. He married in 1769 Selina 

Elizabeth, daughter of Sir Arthur Brooke, Baronet. He was created 
Viscount de Vesciin 1776. 

His portrait was owned successively by the second Viscount (1771-1855); the 

third Viscount (1803-1875); the fourth Viscount (1844-1903), and is now in 


the possession of Ivo Richard Vesey, fifth Viscount de Vesci of Abbey Leix, 
Queen’s County, Ireland. 


Not listed in Mason. Listed in Strickland. 


283 


¢ 


( 242 )s 
EARL OF DEVON 
1742-1788 


ILLIAM COURTENAY, son of William, first Viscount 

Courtenay (1710-1762) by his first wife, Frances, daughter of 
Heneage, second Earl of Aylesford, was born at St. James Palace, West- 
minster, London, and succeeded his father as second Viscount Courte- 
nay and eighth Earl of Devon. The same year he married Frances Clack 
(d. 1782). He was the fifteenth inheritor of Powderham Castle, County 
Devon, England; the sixteenth in succession from Hugh, Earl of Dev- 
onshire, and Margaret, his wife, granddaughter of Edward I; and the 
twenty-first in succession from Reginald de Courtenay, who came to 
England with Henry II. His son William, born in 1768, succeeded him 
as third Viscount Courtenay and ninth Earl of Devon. 

London, c. 1785-86. Canvas, 30x25 inches. Bust, three-quarters to the right. 
His head is slightly inclined toward his left shoulder and his eyes are directed to 
the spectator. He wears a blue coat with two gold stripes on its standing collar, and 
gold buttons, over a cream-colored waistcoat; a white neckcloth, and a loose 7abot. 
His wig is powdered and worn in a queue bow. The background is plain with a 
cloud-like effect. 


It is now owned by Joseph Grafton Minot, Esq., of Boston, who bought it in 
March, 1924, from Thomas B. Clarke, Esq., of New York. 


ExHIBITED at Union League Club, New York, January 12-16, 1922 (10). 


[ Zllustrated | 


284 


( 243 )s 
ANDREW DEXTER 


1779-1837 


SON of Andrew and Mary (Newton) Dexter of Brookfield, Massa- 
chusetts, and nephew of the Honorable Samuel Dexter (q.v.). 
He was graduated from Brown University in 1796, studied law with his 
uncle and was admitted to the bar in 1800. He married Charlotte 
Morton (q.v.) in 1808 in Boston, speculated, and promoted real estate 
development in Boston and failed in 1809 for $1,200,000. He went for 
eighteen months to Nova Scotia, and in 1810 he came to Athens, New 
York. In 1816 he removed to Alabama, where he founded the city of 
Montgomery. He died in Mobile, Alabama, hopelessly bankrupt. 
Boston, c. 1808. Canvas (s), 2812x23% inches. He is shown bust, three- 
quarters left, with his hazel eyes directed to the spectator. His curly hair and side- 
whiskers are of a reddish-brown. His lips are thick, and his expression is pleasant. 
He wears a white neckcloth and frilled shirt, with standing white collar, and a 
black high-collared coat. The background is plain and of warm brown tones. 
The portrait was inherited by his son, Andrew Alfred Dexter, and then by the 
latter’s son, Andrew Dexter of Utica, New York, who owned it in 1867. In 1880 
it was in the possession of Benjamin Curtis Porter (1843-1908 ), an artist of New 


York. In July, 1919, it was for sale by Doll & Richards, Boston, and in 1921 it 
was bought by Mrs. Wirt Dexter, Boston. 


| Zllustrated | 


285 


(C244 ): 


MRS. ANDREW DEXTER 
1787-1819 


HE was Charlotte, daughter of Perez and Sarah Wentworth (Ap- 
thorpe) Morton (q.v.) of Boston. She married at Boston, in June, 
1808, Andrew Dexter of Boston, and died in Montgomery, Alabama. 


Boston, 1808. Panel, 294 x 2334 inches. She is shown bust, three-quarters left, 
with her blue eyes directed to the spectator. Her golden hair is in close waves and 
ringlets about her head. She wears a white Empire gown, high-waisted, low-cut, 
with short puffed sleeves. A blue scarf has fallen from her shoulders, concealing 
her arms. Her hands are not shown. The background is plain and very dark, almost 
black. 

In this portrait the face only is by Stuart, the remainder having been done by 
his daughter Jane. 

The portrait was left by Mrs. Dexter to her daughter Charlotte, at whose death 
it was inherited by her brother Andrew Dexter, the 2nd. It then passed to his wife 
Sarah Williams Dexter, who owned it for fifty years, and it then went to her grand- 
daughter Morton Campbell, afterwards the wife of Park Howell of New Orleans, 
who sold it in 1920 to M. Knoedler & Co., by whom it was sold to Thomas B. 
Clarke, Esq., of New York. 


ExHIBITED— 
At the Union League Club, New York City, February 9 to 13, 1922. 


( 2 45 )s 
SAMUEL DEXTER 
1761-1816 


SON of Samuel and Hannah (Sigourney) Dexter of Boston. He was 
graduated from Harvard College in 1781; LL.D. Harvard in 
1813. He became Senator; Secretary of War in May, 1800, and Secre- 


286 


SAMUEL DEXTER 


tary of the Treasury in December, 1800. He married Catherine Gordon 
in 1786. 

Boston, prior to 1816. Canvas, 282 x 23 inches. A bust portrait, turned three- 
quarters to the left, with his eyes directed slightly to the left of the spectator. His 
long hair is dark. He wears a black coat and a white neckcloth and ruffled shirt. 
The plain background is in dark neutral tones. 

The portrait was inherited by his son, Franklin Dexter (1793-1857) whose 
widow (née Catherine Elizabeth Prescott) left it to her son, Franklin Gordon 
Dexter (1824-1903), who in turn bequeathed it to his son, Gordon Dexter, Esq., 
of Boston and Beverly Farms, Massachusetts, the present owner. 


EXHIBITED— 

At the exhibition of Stuart’s portraits, Bos- LirHocraPHED by Edwards in vignette 
ton, 1828, No. 19. and printed at the Senefelder Press. 

At Boston Atheneum in 1831, and again in Courtesy, Frick Art Reference Library, New 
1859, 1860 and 1861. York City. 


[ Zllustrated | 


, -( 2.46 ): 


SIR JOHN DICK (OF BRAID) 
I71Q-1804 
Se. of Sir Alexander Dick, third Baronet, and his wife Janet. He 
succeeded his nephew in 1808 as sixth Baronet. “At Mount Clere, 
Roehampton, Surrey, in his 85th year, Sir John Dick, Baronet and 
Knight of the Russian Order of St. Alexander Newski, which he re- 
ceived from the late Empress of Russia for his services to her fleet while 
he was English consul at Leghorn. He was likewise, for several years, 
one of the commissioners for auditing public accounts. He is said to have 
died worth upward of 70,000 pounds sterling.” (The Gentleman’s 
Magazine,” January 2, 1804.) 
London, 1782. Canvas, 36x28 inches. He is shown three-quarters left, seated 


in a gilt armchair upholstered in red, at a table partially covered with a red cloth on 


287 


SIR JOHN DICK (OF BRAID) 


which are some letters. A letter is held in both hands, and between the index and 
middle finger of his right hand he holds a quill pen. His blue eyes are directed to 
the spectator’s left. He wears a gray wig tied with a black queue bow, a dark blue 
unbuttoned coat with gold frogs and buttons showing a white waistcoat, across 
which is seen a broad moire red ribbon. On his right breast is the decoration of the 
Order of St. Anne (?). Another decoration hangs on his breast from a ribbon 
around his neck almost entirely concealed by the white 7aot. The background is 
gray to the left, with a lighter gray window ledge at the right. In the upper right 
corner is painted in small letters: 


“Sir John Dick of Braid, Bart. 
Knight of St. Anne of Russia. 
Born 1719—Died 1804 
Gilbert Stuart 1782.” 


On the stretcher is written: “Sir John Dick by Gilbert Stuart from America, 
E702.) 

The portrait passed from Sir John Dick through the seventh, eighth, and ninth 
baronets to Colonel Sir William Stewart Dick-Cunningham, tenth and present 
Baronet of Prestonfield and Lambrughton, who sold it in 1921 to Thomas B. 


Clarke, Esq., of New York. 

ExHIBITED— 

At Loan Exhibition of Scottish National Not listed in Mason. 
Portraits, Edinburgh, 1884, No. 456. Listed in Strickland. 


At Union League Club, New York, Janu- 


ary, 1922 (4). 
[ Zllustrated | 


"(247 ): 
LADY DICK 


Her portrait was painted in Dublin, according to Mason. 


288 


(2 48 ). 
SAMUEL DOGGETT 
LAS i lS 31 
SON of Samuel and Abigail (Davenport) Doggett of Dedham, 
Massachusetts. Married Elizabeth Badlam (q.v.) in 1777. He was 
a carpenter and millwright, and later kept the Dedham jail. He served 
in the Revolutionary War as first lieutenant, was present in the battles 


of Saratoga, Crown Point, and Ticonderoga, and was one of a detail 
sent to bring cannon for use at the siege of Boston. 


Boston, 1815. Panel, 2838 x23% inches. He is seated in an armchair, three- 
quarters right, his head nearly front, and with his blue eyes directed to the spec- 
tator. His face is round and plump, with a ruddy complexion; his reddish-brown 
hair, thin on top of his head, and his sidewhiskers are turning gray. He wears a 
high-collared black coat, white neckcloth and tie, and a white standing collar. His 
right hand, of a curious brown color, holdsa stout cane of light-colored wood, with 
a gold head. The background is plain and of dark olive tones. 

Inherited by his widow, the portrait passed at her death in 1832 to his youngest 
son, John Doggett (1780-1857) of Roxbury and Boston, who removed to 
- Dedham, Massachusetts, in 1845. At his death it was inherited by his daughter, 
Sophia Doggett (1805-1882), wife of Jonathan Holmes Cobb of Dedham. At 
Mrs. Cobb’s death it became the property of her daughter, Sophia Jane Cobb 
(1823-1901 ), wife of Abram French of Jamaica Plain, Massachusetts. At Mrs. 
French’s death it passed to her daughter, Rosa French, wife of Charles S. 
Dennison, Esq., of Boston, and later (1917) of Santa Barbara, California. 


EXxHIBITED— rect,then the pictures were wrongly listed 
According to Mason, the portraits of Samuel as “John Doggett, Esq.” (No. 2) and 
Doggett and Mrs. Samuel Doggett were “Mrs. Doggett” (No. 3). 
exhibited at the exhibition of Stuart’s por- At the Museum of Fine Arts, Boston, in 
traits, Boston, 1828. Should that be cor- 1880. 


289 


(249 ) 
MRS. SAMUEL DOGGETT 


Poche 32 
LIZABETH BADLAM, daughter of Stephen and Hannah 
(Clapp) Badlam of Stoughton, Massachusetts. She married Samuel 


Doggett (q.v.)1n 1777. 


Boston, 1815. Panel (s), 2858 x 2314 inches. She is seated, three-quarters left, 
in a gilt-framed Empire armchair upholstered in light pinkish-brown velvet like 
the chair in the portrait of Mrs. Robert Gould Shaw (q.v.). Her small brown eyes 
are directed to the spectator, her complexion is fresh, and her light brown hair 
shows on her forehead under her cap. She wears a dotted muslin mob cap with a 
ruffle and white bow; a dark, rich, reddish-brown silk dress, low-necked, and 
caught at the high waist by a narrow belt of the same color, the neck trimmed with 
narrow ruffles of the same color, and a white muslin filling with starched lace 
collar, and with long sleeves. The background is plain, and of warm greenish-olive 
tones, darker at the right side. 

Inherited by John Doggett (1780-1857) of Roxbury and Boston, who re- 
moved to Dedham, Massachusetts, in 1845, this portrait came down in line of 
straight descent to the present owner, Mrs. Charles $. Dennison of Boston, and 
later (1917) of Santa Barbara, California, the same way as the portrait of Samuel 
Doggett. 


EXHIBITED— 
At the Museum of Fine Arts, Boston, in 1880. 


( 250 )s 
TWO DOGS (SPANIELS) 


Newport, c.1765. Canvas, 25x30 inches. This is Gilbert Stuart’s earliest 
artistic effort: a picture of two white and tan spaniels lying with their heads resting 
on their front paws. The larger dog is under a cabrio-leg mahogany card-table, 


290 


TWO DOGS (SPANIELS) 


with head protruding between the table legs, whilst the smaller one is in front, 
with head pointing towards the spectator. The background is in tones of dark green. 

This painting has always been in possession of the Hunter family in Newport. 
Doctor William Hunter, born in Scotland in 1733, came to America in 1753 and 
settled in Newport, Rhode Island, where he delivered the first anatomical lectures 
in America. He was called professionally to Mrs. Stuart’s house at Narragansett, 
where his attention was attracted by the chalk drawings on a board fence. Upon 
questioning Mrs. Stuart he learned that they were done by her son Gilbert. Doctor 
Hunter became interested in the boy and helped and encouraged him. Later he 
invited him to spend a few days in Newport and paint his dogs. In 1879 the picture 
was owned by Thomas R. Hunter, in 1907 by Miss Augusta Hunter, and since 
1909 by Mrs. Mary Hunter Glyn, wife of W. E. Glyn, Esq., a great-grand- 
daughter of Doctor William Hunter. 


EXHIBITED at the Metropolitan Museum Early New England,” by Howard M. 
of Art, New York City, in 1909. Chapin, Providence, Rhode Island, 1920, 
REPRODUCED, in half-tone, in “Dogs in facing page 4. 
[ Illustrated | 


( 251 )s 
DOGS AND WOODCOCKS 


Boston, c. 1820. Canvas (s), 242 x20¥% inches. Three brown and white spaniels 
grouped about the foot of an oak tree, have just surprised two woodcocks which are 
seen flying away in opposite directions. The dense foliage of the tree is of various 
shades of rich browns, reddish-browns, and greens, with shrubbery at the left of 
the tree trunk, and green grasses at the right. In the distance, at the right, is blue 
sky with white clouds. The foreground is of dark yellows and browns. On the collar 
of the dog nearest the spectator is written: “G Stuart.” 

The picture was owned originally by John G. Jones of New York, an early 
president of the Chemical Bank, who had the picture engraved on the one-dollar 
specie payment issued by the bank in 1857 and on the two-dollar specie payment 
issued in 1859. It is now owned by Mrs. F. de R. Wissmann, New York City. 


ExuIsiTep at the Metropolitan Museum, New York, from 1913 to January, 1922. 
Not listed in Mason. fTilustrated | 


291 


( 252 )s 
MRS. SULLIVAN DORR 


Died 1859 


IFE of Sullivan Dorr (1778-1858) of Boston. They moved to 
Providence, Rhode Island, where her husband became a suc- 
cessful manufacturer. They were the parents of Thomas Wilson Dorr 
(1805-1854) of “Doris Rebellion” notoriety. 
This portrait was owned in 1867 by her son, Sullivan Dorr (died 1884). 
A great-grandson of Mrs. Sullivan Dorr, John O. Ames, Esq., of Providence, 


Rhode Island, sends the information that he owns a portrait of his great-grand- 
mother but that it is not by Stuart. This, of course, may refer to another portrait. 


( 253 )s 
MRS. HAMMOND DORSEY 


1793-1819 


LIZABETH PICKERING, daughter of Colonel Timothy (q.v.) 
and Rebecca (White) Pickering (q.v.) of Salem, Massachusetts. 
She was born in Philadelphia and married in 1816 Hammond Dorsey 
(1794-1823), a son of Edward and Elizabeth (Hammond) Dorsey of 
Belmont, Howard County, Maryland. She died at Elk Ridge, Maryland. 


Boston, c. 1820. A half-length portrait, showing her seated in an armchair, 
turned three-quarters to the right, with her left arm resting on the arm of the 
chair and her hands clasped in her lap. Her dark eyes are directed to the spectator 
and her dark hair is parted, worn in curls, and dressed low over her ears and 
temples. She wears a low, square-cut, light dress, edged with a lace bertha. A star- 
shaped pendant hangs at her waist. Over her dress she wears a cloak, bordered 
with ermine, open in front. The background consists of a paneled wall. 


292 


MRS. HAMMOND DORSEY 


According to Mason, the portrait was painted for her brother, Henry Pickering. 
At her death it passed to her husband, who left it to his daughter, Mary Elizabeth 
Pickering Dorsey (born 1818), wife of Thomas Donaldson of Baltimore. 


Exu1siTep at the exhibition of Stuart’s por- A very fine copy, by William Morris Hunt, 
traits, Boston, 1828, No. 189. is owned by the estate of Henry Pickering 
REPRODUCED, in heliotype, in “The Picker- Bowditch. 
ing Genealogy,” 1897, Vol.I, facing page 
269. 
[ Zllustrated | 


(C254 ): 


COLONEL WILLIAM DUANE 
1760-1835 
OURNALIST. Born in the United States but educated in Ireland 


and in 1784 went to India, where he amassed a fortune. After a series 
of thrilling adventures and the loss of his money he returned to America 
in 1795 and edited, in Philadelphia, “The Aurora,” from which he 
retired in 1822. After traveling in South America he was appointed 
protho-notary of the Supreme Court of Pennsylvania for the Eastern 
district, which office he retained until his death. 
His portrait was inherited by his son, William John Duane (1780-1866), a 
distinguished lawyer of Philadelphia, who bequeathed it to his daughter. The 


portrait was, for a number of years, deposited in the Pennsylvania Academy of 
the Fine Arts, where in 1886 it was unfortunately destroyed by fire. 


293 


( 255 )s 
MARCHIONESS OF DUFFERIN 
1726-1807 


HE was Dorcas, daughter of James Stevenson of Killyeagh, County 
Down, Ireland, by his wife, Anne, daughter of General Nicholas 
Price of Hollymount. She married, in May, 1751, Sir John Blackwood 
(1721-1799), second Baronet. In 1800 she was created Baroness Duf- 
ferin and Clandeboye of Ballyleidy and Killyeagh, County Down. 
Dublin, c. 1792. Canvas, 3058x25 inches. The Marchioness is shown half- 
length, seated slightly to left, with her gray eyes directed to the spectator. Her 
fluffy powdered hair is worn in curls at her neck. She wears a long white-sleeved 
dress, a white fichu which exposes her throat, around which is a narrow black 
ribbon; a white muslin turban, and a brownish-black shawl which has partly fallen 
from her shoulders. The background is plain, of varying tones of browns. 
The portrait was owned in February, 1922, by Herbert C. Labey of London. 
It was brought to this country in the spring of that year by the Ehrich Galleries of 
New York, and in December, 1922, was purchased by the Museum of Fine Arts, 
Boston. 


REPRODUCED, in half-tone, in Bulletin of Not listed in Mason. 
the Museum of Fine Arts, Boston, Feb- Edward J. Moore, photo. 


ruary, 1923, page 5. 
[ Zllustrated | 


( 256 )s 
COUNSELLOR JOHN DUNN 


MEMBER of the Irish Parliament, Borough of Randalstown, 
County Antrim, from 1783 to 1797. He came to the United 
States, says Mason, partly, perhaps wholly, to study the Indian language, 
was here about the time that Stuart was painting Washington, and re- 
mained here approximately three years. 


294 


Philadelphia, 1798. Panel, 2336x194 inches. While this portrait is only a 
sketch, it is a most interesting one, and is a study for the finished picture in the 
Museum of Fine Arts, Boston. It is doubtless a more truthful likeness than the 
Museum picture. 

The portrait was inherited by Stuart’s daughter, Jane Stuart, and about 1879 it 
was purchased from Miss Stuart by Joshua Montgomery Sears (1854-1905) of 
Boston, at whose death it became the property of his widow. 

EXHIBITED at the Museum of Fine Arts, was exhibited at the exhibition of Stuart’s 


Boston, 1924. portraits, Boston, 1828, No. 34. 
One of the three portraits of John Dunn 


( 257 )s 
COUNSELLOR JOHN DUNN 


Philadelphia, c. 1798. Canvas (s), 2836 x 237% inches. He is shown bust, three- 
quarters left, with his blue eyes directed to the spectator. His light brown, curly 
hair is thin on top of his head. He has a high forehead, rather fleshy face, and a 
ruddy complexion. He wears a white neckcloth and shirt ruffles, and a rich red 
coat with a brown fur collar. His right hand is raised, with the fingers lightly 
touching the fur collar, and his left hand does not show. The plain background is 
of warm reddish-brown tones. 

The following receipt was found in the papers of Mr. George Brimmer Inches 
(d. 1919) of Boston: 

“Mt Geo. W. Brimmer || Bo’t of Perez Morton. || The Portrait of Counsellor 
John Dunn Member of the Irish Parliament painted by Gilbert Stuart about 
1798. $150. || Dorchester 4 August 1828 || Rec’d Payment for P.M. || Sarah 
Wentworth Morton ||I acknowledge the above receipt || to be good—being appro- 
priated to her use—Perez Morton.” 

The portrait was bought in 1828 by George Watson Brimmer (1784-1838) of 
Boston for $1 50 from Mrs. Perez Morton (1759-1846) of Boston, and was given 
to the Museum of Fine Arts, Boston, by the will of Mrs. Martin Brimmer of 
Boston on November 8, 1906. 


ExHIBITED— At the Museum of Fine Arts, Boston, in 
At the Boston Athenzum in 1834 by George 1880. 
W. Brimmer, and again in 1860 by Mar- A copy, by Jane Stuart, was exhibited at the 
tin Brimmer. Boston Atheneum in 1846 and 1847, by 


Miss Stuart, and marked “For sale.” 


295 


( 258 ) 
COUNSELLOR JOHN DUNN 


Philadelphia, c. 1798. Canvas, 30 x25 inches. This portrait is similar to the one 
of Dunn which is owned by the Museum of Fine Arts, in Boston, with the excep- 
tion that in this picture the right hand is brought farther over on his breast. 

This is probably the portrait which Dunn himself owned and which he took 
home with him when he left this country. It was bought from the Dunn family 
in Norfolk, England, by James W. Ellsworth, Esq., of New York, and he sold it 
in 1923 to M. Knoedler & Company, New York, who sold it to Thomas B. Clarke, 
Esq., of New York. 


Not listed in Mason. [ Illustrated | 


( 259 )s 
SAMUEL DUNN 
1747-1815 


E was a son of Samuel and Esther (Tourtellot) Dunn of Provi- 
‘dence, Rhode Island. He became a sea captain, and followed the 
sea until 1785. He married in Boston in 1779 Sarah Cutler (q.v.). From 
1785 until his death he was a merchant in Boston, and from 1799 to 
1802 he was Grand Master of the Massachusetts Lodge of the Masons. 


Boston, c. 1808. Panel (s), 2778 x 22% inches. He is shown bust, three-quar- 
ters right, with his blue eyes directed to the spectator. His hair is powdered and 
worn with a black queue bow. He wears a white neckcloth, tie, and frilled shirt; a 
high-collared dark blue coat, with small brass buttons, and a white waistcoat show- 
ing above the collar of his coat, and reaching high up at the sides of his plump, 
ruddy face. The plain background is of dark brown tones. 

His portrait passed at his death to his widow, and at her death in 1819 was 
inherited by his daughter, Sarah Dunn (1797-1868), who became the second 
wife, in 1825, to Lucius Manlius Sargent (1786-1867) of Boston, and at her 


296 


SAMUEL DUNN 


death it became the property of her granddaughter, Mary Turner Sargent (1848 - 
1890), wife of the Reverend Thomas Burgess of St. Albans, Vermont, and later of 
Matteawan, New York. At her death it passed to her husband who died in 1898, 
and then became the property of his four minor children, but was deposited in the 
house in Boston of Mrs. Burgess’ brother-in-law, the Honorable Nathan Matthews. 
In 1912 it was’sent to Mr. Burgess’ sister, Miss Mary M. Burgess of Portland, 
Maine. In 1914 it became the property of Doctor Alexander Manlius Burgess of 
Providence, Rhode Island, a son of the Reverend Thomas Burgess. 

ExuIBITEp at the exhibition of Stuart’s portraits, Boston, 1828, No. 103, and has never since 


been shown. | Illustrated | 


-( 260 );- 


MRS. SAMUEL DUNN 
1761-1819 
HE was Sarah, daughter of John and Mary (Clarke) Cutler of 


Boston, and an aunt of Sarah Dunn Prince (Mrs. James Smith 
Colburn) (q.v.). She married at Boston in 1779 Samuel Dunn (q.v.), 
and had three sons and two daughters. 


Boston, c. 1808. Panel (s), 2734 x 2234 inches. She is shown bust, three-quarters 
left, seated in a gilt armchair upholstered in light red, with her brown eyes directed 
to the spectator. Her brown hair is in long ringlets on her forehead, and her com- 
plexion is brilliant. Her high-necked dress is white, with a white pointed lace ruffle 
on the shoulder around the arm-hole, and a bow of narrow white ribbon at the 
front of the waist. Slightly fallen from her shoulders is an India shaw] of dark- 
slate blue, with a fringed and embroidered border of various colors, and on her head 
isa turban of white dotted muslin. The background is plain and of brown tones. 

At her death the portrait passed to her daughter, Sarah Cutler Dunn (1797- 
1868), wife of Lucius Manlius Sargent of Boston, and its subsequent history is the 
same as that of the portrait of Samuel Dunn. 

EXHIBITED at the exhibition of Stuart’s portraits, Boston, 1828, No. 184. It has never since 


been shown. [ Zlustrated | 


297 


-( 261 ): 


MARIA CORNELIA DURANT 
1789-1819 


HE only child of Cornelius and Maria (Fenno) Durant of Boston 

and St. Croix. In 1807 she married Andrew Ritchie (1788-1862) 
of Boston, and died in Paris in 1819. She was first cousin to Mrs. 
Ebenezer Battelle (q.v.). 


Boston, c. 1809. Canvas, 231/2x 25% inches. She is shown half-length, three- 
quarters to the left, with her brown eyes directed to the spectator. Dark brown hair, 
worn in a knot on top of her head, with curls on her temples, and in front of her 
ears. She wears a white low-necked dress edged with a narrow ruffle and slightly 
ruffled sleeves. Over her right shoulder and completely hiding her right arm is a 
dull blue scarf, which, passing at the back, appears again from under her left arm, 
over which it is draped. In the background is a red curtain draped at the left and 
revealing the dark gray base of a column, also sky and clouds. 

At her husband’s death in 1862 the portrait was given to his intimate friend and 
classmate, Honorable James Trecothick Austin (died 1870) of Boston, who be- 
queathed it to his son-in-law, Doctor George Hinckley Lyman of Boston, from 
whom it passed to his son, George Hinckley Lyman, Esq., of Boston, who gave it to 
his daughter Minna, wife of Walter Hunnewell of Wellesley, Massachusetts. The 
portrait, however, has remained in her father’s house. 


[ Zllustrated | 


-( 262 >: 


FRANCIS LOWELL DUTTON 
Died 1854. 


RANCIS LOWELL DUTTON, son of Warren and Elizabeth 
Cutts (Lowell) Dutton (q.v.) of Boston. He was graduated from 
Harvard College in 1831, and received the degree of LL.B. in 1834. 


298 


FRANCIS LOWELL DUTTON 


Boston, c. 1820. Panel (s), 267% x 22 inches. He is shown standing, half-length 
to below the waist, as a boy of about eight years of age. He has light brown, curly 
hair and a fresh complexion. His right hand is raised to the visor of the red cap 
which he is lifting from his head in an attempt to catch two red and yellow moths 
flying at the upper left of the picture. He wears a very dark blue short-waisted 
jacket or spencer, with a low-cut neck trimmed with wide white muslin ruffles, 
and with small brass buttons trimming the jacket itself, and also the sides of the 
dark blue trousers. His small, dark brown eyes are directed to the butterflies. A 
landscape of brownish trees at the lower left, with plain greenish-blue sky, and at 
the right a slender trunk of a tree or bush, about which red and white morning- 
glories are climbing, form the background. 

His portrait was owned in 1827 by his father, Warren Dutton, and in 1879 by 
his niece, Mrs. Henry D. Dalton, who bequeathed it to her son and daughter, the 
present joint owners, Henry R. Dalton, Esq., and Miss Elizabeth L. Dalton of 
Boston. 


ExHIBITED— 
At the exhibition of Stuart’s portraits, Bos- At the Museum of Fine Arts, Boston, in 
ton, 1828, No. 54. 1880, 1885 and 1887. 


[ Illustrated | 


( 263 ): 


MRS. WARREN DUTTON 
1783-1864 

LIZABETH CUTTS LOWELL, daughter of Judge John Lowell 

and his third wife, Rebecca, widow of James Tyng and daughter 
of James and Katherine (Graves) Russell of Charlestown, Massachusetts. 
She married Warren Dutton in 1806, and was a sister of Mrs. Samuel 
Pickering Gardner, and the mother of Francis Lowell Dutton, both of 
whom were painted by Stuart. 


Boston, c. 1810. Panel (s), 27x23 inches. She is seated, three-quarters left, in 
an Empire armchair upholstered in pale olive-green brocaded silk. She wears a 
low-necked white dress, over which is thrown a lilac-colored shawl, and her auburn 


299 


MRS. WARREN DUTTON 


hair is worn high with a tortoise-shell comb and with long curls on her forehead. 
Her large grayish-blue eyes are directed to the spectator. Her thin and delicate 
face expresses great refinement, and her cheeks and lips are rather brilliantly red. 
The background, dark above and behind the figure, lightens toward the lower part 
of the picture, to a grayish-green. 

“Eliza (Lowell) isa little, charming, sweet creature, she is about seventeen or 
eighteen, short, fat, and a blooming complexion, handsome blue eyes, light hair, 
beautiful dimples, artless and unaffected in her manners.” (From a letter of Eliza 
Southgate to her sister Octavia, written from Bath, Maine, about 1800. “A Girl’s 
Life Eighty Years Ago.” Edited by Clarence Cook, New York, 1903, page 33.) 

The portrait is owned by Miss Sarah L. Barnard of Boston. 


Not listed in Mason. “Exhibited in Boston Museum of Fine 
Listed in Fielding, No. 44, where it says: Arts.” 


(C264 )- 


MARQUES D’YRUGO 
1763-1824 


ARLOS MARIA MARTINEZ, Marqués de Casa D’Yrugo, was 
born in Cartagena, Spain, and educated at the University of Sala- 
manca. Minister Plenipotentiary from Spain to the United States from 
1796 to 1806. He married in 1798 Sally McKean (q.v.), daughter of 
Chief Justice Thomas McKean (q.v.). In 1803 he was created Marqués 
de Casa D’Yrugo; in 1810 he was appointed Envoy Extraordinary and 
Minister Plenipotentiary at Rio de Janeiro. | 
Philadelphia, 1795. Canvas, 29x 24 inches. Half-length, turned half-way to 
the left, with his blue eyes directed to the spectator. His powdered hair is tied with 
a narrow queue ribbon. He wears a dark coat with a double row of brass buttons, a 
white neckcloth and ruffled shirt. His right hand is partly thrust into his coat, from 


the left lapel of which hangs a decoration. The background is a cloudy sky. 
This portrait was owned by Henry Pratt McKean (1810-1894), who be- 


300 


queathed it to his son, Thomas McKean (1842-1898), who left it to his widow, 
at whose death in 1912 it passed to her son, the present owner, Thomas McKean, 
Esq., of Philadelphia. 


ExHIBITED— the Century Magazine, Vol. LXIV, fac- 
At Loan Exhibition of Historical Portraits, ing page 947. 

December 1, 1887, to January 15, 1888, REPRODUCED— 

held at the Pennsylvania Academy of the In half-tone, in “Masters in Art—Stuart,” 

Fine Arts, Philadelphia. 1906, plate 2. 
Privately lithographed. In half-tone, in E. T. Sale’s “Old Time 
ENGRAVED, on wood, by Henry Wolf for Belles and Cavaliers,” 1912, page 222. 

[ Illustrated | 


-( 265 ): 
MARQUES D’YRUGO 
1763-1824 


According to the late Charles Henry Hart, a second and different portrait of the 
Marqués D’Yrugo is owned by his grandson, the Duke of Sotomayor, of Madrid, 


Spain. 


-( 266 )- 
- MARQUES D’YRUGO 
1763-1824 


According to the late Charles Henry Hart, a third and again different portrait 
of the Marqués D’Yrugo is owned by his granddaughter, a sister of the Duke of 


Sotomayor, Madrid. 


301 


‘(267 ): 
MARCHIONESS D’YRUGO 


1777-1841 
ARIA THERESA SARAH, daughter of Chief Justice Thomas 
McKean (q.v.) and his second wife Sarah Armitage. She was 
noted for her great beauty and intelligence. In April, 1798, she married 
the Marqués de Casa D’Yrugo (q.v.). Three children were born to them 
before their return to Spain in 1807, the youngest of whom became the 
noted Duke of Sotomayor, prime minister of Spain. 


Philadelphia, c.1799. Canvas, 29x24 inches. Half-length, seated, half-way 
to the right, in a carved and upholstered armchair, with her dark eyes directed to 
the spectator. Her black hair is dressed high with a string of pearls entwined in the 
chignon, and curls on forehead and temples. She wears a low-necked dress trimmed 
with pearls at the edge of the neck and short sleeves, and on the shoulder. A string 
of pearls forms the high waistline, and a pearl necklace is seen on her neck. Her 
hands are crossed in her lap and her right hand holds a closed fan. The curtain in 
the background is draped back, revealing a cloudy sky at the right. 

This portrait is owned by Thomas McKean, Esq., of Philadelphia, its history 
being the same as that of the portrait of the Marqués D’Yrugo. 


ExHIBITED— Magazine, June, 1898, Vol. 34, page 162. 

At Loan Exhibition of Historical Portraits, REPRODUCED— 

December 1, 1887, to January 15, 1888, In McClure’s Magazine, 1903, Vol. 20, 
at the Pennsylvania Academy of the Fine page 350. 
Arts, Philadelphia. In half-tone, in “Masters in Art—Stuart,” 

ENGRAVED— 1906, plate 2. 

In line and stipple, by J. Rogers for Gris- In half-tone, in “Romantic Days in the 
wold’s “Republican Court,” 1855. (En- Early Republic,” by Mary C. Crawford, 
larged to nearly a full-length and with 1912, facing page 52. 
changes in the drapery and accessories. ) In half-tone, in Scribner’s Magazine, No- 

In wood, by Peter Aitken, for the Century vember, 1922, page 638. 

[ Zllustrated | 


302 


-( 268 ): 


MARCHIONESS D’YRUGO 
Wg77-Voat 


According to the late Charles Henry Hart, a second and different portrait of the 
Marchioness D’Yrugo is owned by her grandson, the Duke of Sotomayor, of 
Madrid, Spain. 


‘(269 )- 
MARCHIONESS D’YRUGO 
1777-1841 


According to the late Charles Henry Hart, a third and again different portrait 
of the Marchioness D’Yrugo is owned by her granddaughter, a sister of the Duke 
of Sotomayor, Madrid. 


( 270 )s 
RICHARD EARLOM 


LA pls 
eee EARLOM was a pupil of Cipriani, and was the first 


artist who made use of the point in mezzotint work. He first 
engraved for John Boydell, the London publisher, who in 1777 brought 
out the “Liber Veritatis,” comprising two hundred plates, executed by 
Earlom in the style of the original drawings by Claude Lorrain, which 
are for the most part in the possession of the Duke of Devonshire. He 


393 


RICHARD EARLOM 


is also well known for his groups of flowers after paintings by Van 
Huysum and Van Os, for his mezzotints after portraits by Reynolds, 
Rembrandt, Van Dyck and West, for his subject pieces after Italian, 
Dutch and English masters, and for some etchings after Salvator Rosa, 
Tintoretto, Poussin and Rembrandt. 

The engraving by Lupton shows him at, bust, turned three-quarters to the left, 
with his eyes directed slightly to the spectator’s left. He wears a powdered wig, 
worn in rolls over his ears, and tied with a queue ribbon. He is dressed in a dark 


coat with large buttons, a light waistcoat, the lapels of which come partly over his 
coat lapels, and a white neckcloth. ; . 


ENGRAVED, in mezzotint, by T. Lupton, | &Co., 1819, 53 x 5 inches. Four states. 
as frontispiece to Vol. II of the “Liber Not listed in Mason. 
Veritatis,” published by Messrs. Boydell Listed in Strickland. 


( 271 )s 
MISS MARY HARRISON ELIOT 
1788-1846 


HE was a daughter of Samuel (q.v.) and Catherine (Atkins) Eliot 

(q.v.) of Boston, and married in 1809 Edmund Dwight (1780- 
1849), a graduate of Yale College in the class of 1799, and a resident of 
Boston. 


Boston, 1808-09. Panel, 2875x2234 inches. Life-size, half-length, three- 
quarters right, with her light brown eyes directed slightly to the spectator’s right. 
She has a delicate, oval face, with fresh coloring and a rather wistful expression. 
Her dark reddish-brown hair is parted and braided and dressed high on her head, 
with ringlets on the forehead and temples. The suggestion of a smile lurks about 
the mouth. A wide fillet of a material which matches her hair in color, encircles 


304 


her head, and a white lace mantilla falls from the top of the head over the left 
shoulder and left arm and partially conceals the right arm. She wears a simple dress 
of white muslin, cut low in the neck, and with a high waist. The neck of the dress 
and the upper portion of the sleeve are trimmed with a narrow edging of white 
lace. The background is plain and of brownish-green tones. 

Her portrait was inherited by her daughter Sophia, wife of John Wells of 
Boston, and at her death by her daughter, Mary Eliot Wells, wife of James Phil- 
lips Farley of Brookline, Massachusetts, the present owner. The portrait, how- 
ever, hangs in the house of her son, Eliot Farley, Esq., of Cambridge, Massa- 
chusetts. 


ExHIBITED— 

At the exhibition of Stuart’s portraits, Bos- At the Woman’s City Club, Boston,in 1923. 
ton, 1828, No. 18, as “Mrs. Edmund Mason lists the picture under her married 
Dwight.” name, but the portrait was painted shortly 

At the Museum of Fine Arts, Boston, in before her marriage. 


1919 and 1922. 
[ Z2lustrated | 


( 272 )s 
MISS MARY HARRISON ELIOT 
1788-1846 


Boston, c. 1808. Canvas, 30x25 inches. Similar in pose to the previously de- 
scribed portrait, but differing in many details, this is probably the first sketch 
for the finished picture. The mantilla is omitted, and a long sinuous curl falls over 
the right shoulder and over the breast. She wears a white muslin dress with the low 
neck trimmed with narrow white lace and filled in with a white muslin guimpe 
with a turned-over collar attached, and open at the throat. The portrait has been 
transferred from panel to a larger-sized canvas, and much repainted. 


The portrait is owned by Mr. and Mrs. Albert Rosenthal of Philadelphia. 
REPRODUCED, in half-tone, in “One Hun- York, 1918, page 118, as a portrait of 


dred Early American Paintings,” pub- * “Miss King.” 
lished by the Ehrich Galleries of New Not listed in Mason. 


305 


( 273 »)s 


SAMUEL ELIOT 
1739-1820 


E was a son of Samuel and Elizabeth (Marshall) Eliot of Boston. 
He married in 1786 Catherine Atkins (q.v.) of Newburyport, 
Massachusetts, by whom he had six children. 


Boston, c. 1806. Panel, 32 x 28 inches. He is seated three-quarters left, with his 
dark blue eyes directed to the spectator, in a gilded Empire armchair upholstered 
in red. His powdered hair is tied with a black queue bow, and he wears a grayish 
waistcoat with small buttons to match; a black coat with a collar, buttoned across 
his breast, with white lace at the wrists; a white neckcloth and muslin frill. He 
holds with both hands a leather-bound book with a red title label. The plain back- 
ground is of light brown, becoming warmer in the shadows. 

The portrait passed at Mr. Eliot’s death to his son Samuel Atkins Eliot (1798— 
1862) of Boston, and at his death to his widow Mary Lyman Eliot (1802-1875), 
who bequeathed it to her son Doctor Charles William Eliot of Cambridge, 
Massachusetts. ; 


ExHIBITED— 


At the exhibition of Stuart’s portraits, Bos- 
ton, 1828, No. 48. 

At the Boston Atheneum in 1871. 

At the Museum of Fine Arts, Boston, in 
1880, 1921 and 1923. 

EnGraAVED on wood by Kilburn, and repro- 
duced in Winsor’s “Memorial History of 
Boston,” 1881, Vol. IV, page 7. 


A copy was made by George P. A. Healy, 
from which a copy was made by Emil 
Bublitz, now hanging in the Harvard 
Club, New York City. 

A copy, made in 1918 by Miss Sally Cross, 
is owned by Amory Eliot, Esq., of Boston. 

Another copy was in the possession of 
George Ticknor Dexter of Boston. 


[ Illustrated | 


"C274 ): 


SAMUEL ELIOT 
1739-1820 


Boston, 1826. Canvas, 364 x 28 inches. This portrait, a replica of that painted 
by Stuart in 1806, was ordered by the Trustees of the Massachusetts General Hos- 


SAMUEL ELIOT 


pital in Boston in December, 1823, and Stuart was commissioned to paint it. It was 
apparently not finished until 1826, and in May of that year was hung upon the 
walls of the McLean Asylum, of which institution the Trustees were the same as 
for the Massachusetts General Hospital. It was removed to the hospital in October, 
1826, and has ever since hung there. 


Not listed in Mason. 


( 275 )s 


MRS. SAMUEL ELIOT 
1758-1829 
HE was Catherine Atkins, daughter of Dudley and Sarah (Kent) 


Atkins of Newburyport, Massachusetts, and a sister of Dudley 
Atkins Tyng (q.v.). She married in 1786 Samuel Eliot (q.v.) of Boston. 


Boston, c. 1806. Panel, 32 x28 inches. She is shown half-length, seated three- 
quarters right, in a gilded armchair upholstered in crimson figured silk, with her 
brown eyes directed to the spectator. Her brown hair, in ringlets, shows beneath a 
turban of white silk. She wears a white dress of silk, with a high waist, the neck 
filled in with a filmy white fichw and the waist girdled by a white silk cord tied in 
front ina bow. A white silk shaw] falls over her left shoulder onto her lap, covering 
her left arm, and appears at her right, concealing her right forearm. Her clasped 
hands lie on her lap. The background, of light browns becoming warmer in the 
shadows, is plain. 

Her portrait passed to her son, Samuel Atkins Eliot (1798-1862) of Boston, 
and at his death to his widow. At her death, in 1875, it became the property of her 
son, Dr. Charles William Eliot of Cambridge, Massachusetts. 


ExHIBITED— 

At the exhibition of Stuart’s portraits, Bos- A copy, by Jane Stuart, is owned by Mrs. 
ton, 1828, No. 47. Charles Eliot Guild of Brookline, Massa- 

At the Boston Athenzum in 1871. chusetts. 

At the Centennial Exposition, Philadel- A copy, by Miss Sally Cross, is owned by 
phia, in 1876, by Charles W. Eliot. Amory Eliot, Esq., of Boston. 

At the Museum of Fine Arts, Boston, in Another copy was in the possession of 
1880 and 1921. George Ticknor Dexter of Boston. 


[ Illustrated | 


Soy 


( 276 )s 
WILLIAM HAVARD ELIOT 


17057008 1 

H* was a son of Samuel (q.v.) and Catherine (Atkins) Eliot (q.v.) 

of Boston, and a brother of Samuel Atkins Eliot (q.v.). After 
being graduated from Harvard in 1815, he studied law, and married in 
1820 Margaretta Boies Bradford of Boston. He joined the Ancient and 
Honorable Artillery Company in 1821, represented Boston in the State 
Legislature, projected the Tremont House, and was selected to succeed 
Honorable Harrison Gray Otis (q.v.) as Mayor of Boston, but during 
the electioneering campaign he was taken ill and died a few days before 
the ballot. He was a man “of pleasing temper, amiable manners and 
enterprising spirit.” 

Boston, c. 1827-28. Canvas (s), 24.x 20 inches. His portrait, painted on a rec- 
tangular canvas, but framed with an oval mat, is unfinished. It was painted not long 
before Stuart died, and while he was at work upon it, someone remarked that Mr. 
Eliot was better looking than his portrait showed him. Stuart, apparently realizing 
the truth of the criticism, and perhaps feeling that his hand had lost some of its 
power to paint, said: “That is very true,” and threw down his brush, leaving the 
picture in its present condition. The background, very dark brown and of an even 
tone, is probably completed, and the head is nearly done, but the body is unfinished. 
Mr. Eliot looks at the spectator with light blue eyes. His thick wavy hair is dark 
auburn, and he wears thin sidewhiskers which extend well below the lobe of his 
ears. His face is thin, and his complexion sallow, lacking the red tones which 
appear in so much of Stuart’s work. A dark brown coat, white neckcloth, and white 
standing collar are indicated. 

Inherited at his death by his widow, it passed at her death to her son, Samuel 
Eliot (1821-1898) of Boston, and then to his daughter, Emily Marshall Eliot, 
wife of John Holmes Morison, Esq., of Boston. 


The portrait has never been exhibited. Listed in Fielding, No. 47. 
Not listed in Mason. 


308 


( 77 )s 
JOHN STEVENS ELLERY 


1773-1845 
E was a son of John Stevens and Esther (Sargent) Ellery of 
Gloucester, and his mother was a sister of Governor Winthrop 
Sargent (q.v.). He wasa merchant in France and accumulated a fortune, 
and lived in Jamaica Plain, but died in New York. Late in life he married 
a milliner of beauty, whose name was Burr, and they had one daughter, 
who married Colonel Green of Texas, and inherited the Ellery fortune. 


Boston, 1810. Panel (s), 2614x215 inches. He is shown bust-size, three- 
quarters left, with his brown eyes directed to the spectator. He hasa fleshy face and 
very ruddy complexion, brown hair brushed over a high forehead, and side- 
whiskers. He wears a white standing collar, white neckcloth and tie, white waist- 
coat, and high-collared black coat with brass buttons. The background is plain, 
warm, and dark. 

This portrait was painted for his sister, Sarah Stevens, wife of Major Ignatius 
Sargent of Boston, and at her death it passed to her son, Ignatius Sargent (1800-— 
1884) of Brookline, Massachusetts. From him it went to his son, Professor Charles 
Sprague Sargent of Holm Lee, Brookline. 


ExHIBITED at the exhibition of Stuart’s 20 of “Notes and Additions to History of 
portraits, Boston, 1828, No. 151. Gloucester,” by Babson. 
Nore: For further information see page 
[ Illustrated | 


( 278 )s 
JAMES HENDERSON ELLIOT 
3 1781-1808 
AMES HENDERSON ELLIOT wasa son of General Simon Elliot. 
He graduated from Harvard College in 1802, and from Bowdoin in 


1806. 


Boston, c. 1807. Panel, 2834 x 23% inches, framed with an oval mat, the open- 
ing being 262 x 21% inches. He is shown bust, three-quarters left, with his blue 


309 


JAMES HENDERSON ELLIOT 


eyes directed to the spectator. His auburn hair is luxuriant and curly and worn 
rather long over his forehead; he also has short sidewhiskers. His long oval face, 
with its long, delicate nose, has a very high coloring on the cheeks. He wears a 
high-collared black coat, buttoned; a high white collar; a white neckcloth and 
pleated shirt. The background is plain and of luminous greenish-gray tones. 

The portrait was inherited by his sister, Elizabeth Elliot (1798 —1862), wife of 
Charles Torrey of Boston (1795-1873). At her death it passed to her husband 
who bequeathed it to their daughter, Mary Elliot Torrey (1836-1915), and at 
her death it was bequeathed to the present owner, Mrs. Elizabeth Elliot Fay, wife 
of Henry H. Fay of Boston, a great niece of the subject. 


EXxHIBITED— 
At the exhibition of Stuart’s portraits, Bos- At the Museum of Fine Arts, Boston, in 
ton, 1828, No. 173. 1880. 


( 279 )s 
DAVID MONTAGUE, BARON ERSKINE 


1777-1855 

AVID MONTAGUE, son of Thomas, first Baron Erskine of 

Restormel Castle, and his wife Frances Moore. He succeeded his 
father as second Baron Erskine in 1823. He was sent to Philadelphia as 
Secretary to the British Legation and held this position until 1802, when 
he returned to England. In 1806 he was sent to Washington as British 
Minister. He married, first, in 1799 Frances Cadwalader (q.v.) of 
Philadelphia, who died in 1843. That same year he married, second, his 
first wife’s cousin, Ann Bond Travis of Philadelphia, who died in 1851. 
He married, third, in 1852, Anna, widow of Calderwood Durham, who 
survived him. 


Philadelphia, 1802. Canvas, 29x24 inches. Half-length, turned. half-way 
to the right, seated in an armchair upholstered in red. His eyes are directed to 
the spectator and his hands are clasped at the waist. He wears a dark coat, a light 


310 


DAVID MONTAGUE, BARON ERSKINE 


double-breasted waistcoat, a white neckcloth and ruffled shirt. The background is a 
dark brown curtain partly drawn aside and revealing a cloudy sky at the right. 
This portrait and the Stuart portrait of his first wife, Frances, Baroness Erskine, 
were painted at the request of General Thomas Cadwalader, a brother of Lady 
Erskine, and he bequeathed them to his son, Judge John Cadwalader, who left 
them to his son, the present owner, John Cadwalader, Esq., of Philadelphia. 


ExuIBITED at a “Loan Exhibition of His- phia, December, 1887, to January, 1888. 
torical Portraits,” held at the Pennsylva- A copy was made by Thomas Sully in 1830. 
nia Academy of the Fine Arts, Philadel- 

[ Z2lustrated | 


-( 280 ): 


HONORABLE MRS. ERSKINE 
1781-1843 


RANCES, daughter of General John and Williamina (Bond) Cad- 

walader of Philadelphia. She married in 1799 Honorable David 
Montague Erskine (q.v.), and in 1823, upon her husbands accession to 
his father’s peerage, became Baroness Erskine. She was the mother of 
five sons and seven daughters, and two of the sons succeeded as third and 
fourth Barons Erskine, respectively. 


Philadelphia, 1802. Canvas, 29x24 inches. Life-size, half-length, seated in 
a rounded-back chair upholstered in pink velvet, with her body turned slightly to 
the left, and her head and brown eyes turned three-quarters left. Her right arm 
and hand rest upon an Empire table, the right hand clasping with interlocking 
fingers the left. Her curly chestnut hair nearly covers with its ringlets the fore- 
head and temples, and falls in curls on the neck. She wears a low-necked, short- 
sleeved dress, the neck and sleeves edged with narrow white ruffles, and over the 
right arm is thrown a scarf. About her waist is a narrow girdle of silk fastened 
with a shield-shape buckle. In the background is a red curtain, with a view at the 
left of a cloudy sky. Of this portrait, Charles Henry Hart says in his articles 
on “Gilbert Stuart’s Portraits of Women” that it “is without doubt one of Stuart’s 


Zl 


masterpieces. It has that directness and charm of simplicity which mark all his best 
work; but it has beyond this a mastery over technical difficulties that shows the 
artist to have been indeed a master workman in his craft. Stuart’s feeling for values 
has no better exponent than this canvas, where the creamy whites of the high lights 
and the blue whites of the shadows are harmonized with a skill that leaves no sem- 
blance of difficulty in the achievements. The luxuriant chestnut hair is brought 
into juxtaposition with the deepened folds of the ashes-of-roses curtain, so that its 
definition is lost; and the high-bred pose of the mother of a future peer of Britain 
has a naturalness and ease that know no wearying.” 

This portrait is owned by John Cadwalader, Esq., of Philadelphia, its history 
being the same as the history of the Stuart portrait of Baron Erskine. 


ExHIBITED at a “Loan Exhibition of His- in the Century Illustrated Magazine, 

torical Portraits,” held at the Pennsylva- April, 1898, as frontispiece. 

nia Academy of the Fine Arts, Philadel- REPRODUCED— 

phia, December, 1887, to January, 1888. In half-tone, in “Salons Colonial and Re- 
ENGRAVED— publican,” by Anne H. Wharton, 1900, 
In stipple, oval in rectangular, by J. Coch- facing page 195. 

ran, for Court Magazine, 1835, 434 x4 In half-tone, in Samuel Isham’s “History 

inches. of American Painting,” 1910, page 91. 
On wood, by Henry Wolf, and reproduced C. S. Bradford, photo., copyright. 

[ Illustrated | 


-( 281 ): 


HONORABLE MRS. ERSKINE 
1781-1843 
A partial replica of the previously described portrait. 


Philadelphia, c. 1802. Canvas, 29x24 inches. Half-length, life-size; head, 
body, and eyes turned three-quarters toward the left, the pose being identical with 
that of the other portrait. The gilded chair is upholstered in pink, and she rests her 
right arm upon a gilded Empire table. Her dress is white, but simpler than that 
shown in the other picture, and the netting on the sleeves is omitted here, and in- 
stead of a ruftle the sleeve is shown with a cuff of the same material as the dress. Her 
waist is bound with a girdle which is fastened in front with a shield-shaped buckle 
of brilliants or diamonds. The scarf thrown over her right arm and falling across 
her lap is of salmon color. In the background is a curtain of the color of ashes of 


Ri2 


HONORABLE MRS. ERSKINE 


roses, as in the other portrait, with gold-tasseled fringe, and the base of a column is 
partially shown, with a view at the left of blue sky with light clouds. 

The portrait was acquired in 1915 by a Philadelphia dealer, directly from the 
Erskine family in England, and sold in 1916 to Herbert Lee Pratt, Esq., of Glen 
Cove, Long Island, New York. 


EXHIBITED at the Exhibition of Early engraving shows her in a different dress 
American Portraits, Brooklyn Museum, and with a filmy scarf on her head and 
February 3 to March 12, 1917, No. 92. down her back.) 

ENGRAVED, in stipple and line, by J. Coch- REPRODUCED, in half-tone, in the catalogue 
ran and published in the Court Magazine, of the Brooklyn Museum exhibition, 
No. 31, for January, 1835, London. (The 1917, facing page 84. 


-( 282 ) 
HONORABLE ‘THOMAS ERSKINE 


1750-1823 


E was the third son of Henry David, tenth Earl of Buchan. He 

married, first, in 1770, Frances Moore (d. 1805), and, second, 
Sarah Buck. He was called to the bar in 1778; appointed Lord High 
Chancellor in 1806, and in that same year was raised to peerage as Baron 
Erskine of Restormel Castle, Cornwall. 


London, c. 1775. Canvas, 294 x 24% inches. He is seated three-quarters right, 
at a table, with his dark blue eyes directed to the spectator. He wears a powdered 
wig, white muslin frill, and a dark greenish-blue coat with large gold buttons. His 
right arm rests on the table, with the left hand over the right forearm. There are 
white muslin ruffles at his wrists. His coloring is high on his cheeks on the side of 
his nose. The background is dark, warm and brown. 

The portrait was sold at Christie’s, July 1, 1921 (numbered 114 in the cata- 
logue), together with a print of the same portrait, at the auction of Old Masters 
belonging to the fifth Marquess of Hertford (1812-1884). It was owned, in 
January, 1922, by H. Burlingham, of New York City, who sold it to E. F. Simms, 
Esq., of Paris, Kentucky. 


Not listed in Mason. [ Zllustrated | 


33 


( 283 »)s 
WILLIAM EUSTIS 


Wee o2 6 


ILLIAM EUSTIS was the son of Doctor Benjamin Eustis and 
was born in Cambridge, Massachusetts. He was graduated from 
Harvard College in 1772 and, having decided to follow the profession 
of medicine, he began studying with the celebrated Doctor Joseph 
Warren of Boston. At the outbreak of the Revolutionary War he served 
as surgeon of a regiment and afterwards as hospital surgeon. He was a 
member of the legislature of the State of Massachusetts, 1788-94; a 
member of Congress, 1800-05; and United States Secretary of War, 
1807-13. In 1814 he was appointed United States Minister to Holland, 
where he remained four years. Upon his return to the United States he 
was again elected to Congress and served during four successive sessions. 
In 1823 he was elected as the tenth Governor of Massachusetts and died 
in ofhce. Harvard College conferred upon him the degree of LL.D. in 
1822. 
Boston, c. 1806. Canvas, 29 x 24 inches. Bust, half-way to the right. He wears 
a black coat, white stock and ruffled shirt. His eyes, directed at the spectator, are 
blue and his dark curly hair has begun to turn gray. The plain background is a light 
grayish-brown. 
This portrait was in the possession of Miss Frances Appleton Langdon Haven 


(died March, 1924), and is now owned by Eustis Langdon Hopkins, Esq., of New 
York City. 


EncrRAVED, by George E. Perine, for the Not listed in Mason. 
Memorials of the Society of the Cincin- A copy was made by A. W. Twitchell. 
natiof Massachusetts, by Francis S. Drake, Courtesy, Frick Art Reference Library, New 
Boston, 1873. York City. 


[ Z2lustrated | 


314 


‘(284 ): 
MRS. ALEXANDER HILL EVERETT 


Not listed in Mason. Hale of Boston, and was exhibited at the 
Listed in Fielding, No. 49, where it says Museum of Fine Arts, Boston. 
that the portrait is owned by Miss Susan 


(285 ): 


EDWARD EVERETT 
1794-1865 

DWARD EVERETT, born at Dorchester, Massachusetts, was the 
son of Reverend Oliver Everett and Lucy Hill Everett. Educated 
in Boston and graduated from Harvard University in 1811, he began his 
brilliant career as minister of the Brattle Street Church in Boston. After 
two years he accepted the chair of Greek at Harvard and went to Europe 
to seek scholarship in the European universities. While there his unusual 
gifts excited the admiration of everybody with whom he camein contact. 
In 1819 he returned to the United States; in 1822 he married Charlotte 
Gray Brooks, a daughter of Peter Chardon Brooks (q.v.), and two years 
later began his political career as member of Congress. In 1834 he was 
elected governor of Massachusetts; in 1840 he was appointed minister 
to the Court of St. James, and from 1845 to 1849 he was president of 
Harvard University. On the death of Daniel Webster, in 1852, he was 
appointed Secretary of State, and in 1853 succeeded John Davis in the 
Senate. An exhaustive biography of Edward Everett was published early 

in 1925 by Paul Revere Frothingham. 
Boston, 1820. Panel, 27x21 inches. He is shown bust, seated, and turned 
half-way to the left, with his brown eyes directed at the spectator. He has curly, 


light brown hair and wears a black coat, white standing collar and white neckcloth. 
His left arm rests on the arm of a chair and he holds in his left hand a book, bound 


315 


in red, with the index finger thrust between the leaves. A shirt-cuff shows at his 
wrist. The chair is upholstered in a mottled brownish-red, this color being repeated 
in acurtain to the left. The rest of the background is a plain grayish-brown. 

Extracts from Edward Everett’s Journal: “June 1, 1838. Dined at Mr. Edmund 
Dwight’s with Edward. Mr. Dwight requested me to return to him Stewart’s 
portrait of me, painted 16 or 17 years ago at his expense. He proposes to have the 
person, which is out of drawing, obliterated, leaving the head. I at first assented, 
but am inclined to doubt the expediency of so doing. It is faulty, but the fault is 
Stewart’s.” 

“Aug. 25, 1858. Yesterday Mr. Edmund Dwight sent me Stuart’s portrait of 
me painted in 1820. He has made me pay $500.— for it, which is, I think, $200.— 
too much. He has framed it so as to hide the hand and the curtain, because some 
one lately told him that they were by an inferior hand. I never heard any such 
suggestion, and have no faith in it.” 

The portrait was inherited by his daughter, Charlotte Brooks Everett (182 5— 
1879), wife of Henry A. Wise, Esq., and she bequeathed it to her daughter, the 
present owner, Katherine Wise, wife of Jacob W. Miller, Esq., of Morristown, 
New Jersey. 


Either this or the following portrait of Ed- Courtesy, Frick Art Reference Library, New 


ward Everett was exhibited at the exhibi- York City. 
tion of Stuart’s portraits, Boston, 1828, 
No. 58. 

[ Illustrated | 


-( 286 ): 


EDWARD EVERETT 
1794-1865 


Boston, 1820. Canvas, 30x25 inches. This is an unfinished portrait, three- 
quarters left, only the head being painted and a suggestion of a white neckcloth. 
His hair, long and wavy, is of a reddish-brown color; his eyes, directed to the spec- 
tator, are blue and his complexion is fresh. 

The portrait was given on July 30, 1856, to the Massachusetts Historical So- 
ciety, Boston, by Thomas Dowsey (1772-1856). 


ENGRAVED, on steel, probably by H. Wright ings of the Massachusetts Historical So- 
Smith, for reproduction in the “Proceed- ciety,” 1858, facing page 361. 


316 


‘( 287 ) 
ALEXIS EVSTAPHIEVE 


USSIAN consul at Boston from 1812 to 1829, in which latter year 

he was transferred to New York City. He died in 1857, at the age 

of about eighty-two. His daughter, Madame Peruzzi, became a great 
pianist and was living in Florence in 1881. 

The portrait was inherited by his son, A. A. Evstaphieve of Buffalo, New York, 


and then by his granddaughter, Mrs. John Hastings Ziegler of Gorsefield, near 
Birkenhead, England. 


ExHIBITED— 
At the exhibition of Stuart’s portraits, Bos- At the Metropolitan Museum of Art, New 
ton, 1828, No. 149. York, 1880, lent by C. C. Ziegler. 


-( 288 ): 


MRS. ALEXIS EVSTAPHIEVE 
1789 -185 3 
HE was of English birth and noted for her beauty. 


This portrait has the same history as Stuart’s portrait of Alexis Evstaphieve 


(q.v.). 


EXHIBITED at the exhibition of Stuart’s portraits, Boston, 1828, No. 150. 


317 


-( 289 ): 


GEORG SIGMUND FACIUS 
1750-Dhied after 1813 


EGENSBURG, Germany, was his birthplace and he was the son of 
R a Russian consul at Brussels. He studied in Brussels and went with 
his brother, Johann Gottlieb (q.v.), to London in 1776 to work for John 
Boydell, for whom they produced a number of plates in stipple. The 
plates are signed in several ways, i.e., family name only, full name of 
both brothers, or individually by either brother. Their subject matter 
embraces the work of old masters as well as contemporary artists. The 
dates of their deaths are unknown, but as the plates are dated, their activ- 
ities may be traced to 1813. 


London, c. 1785. Canvas, 35 x 27 inches. He is seated, three-quarters right, in 
a chair upholstered in red, with his dark blue eyes directed to the spectator’s right. 
Powdered hair, worn in a roll over his ears in a queue. His coat is of a purplish 
brown with horn buttons, and ruffled wristbands, and he also wears a golden-yellow 
waistcoat with small buttons, a white neckcloth and ruffled shirt. His complexion 
is not highly colored. He rests his right elbow upon a table on which is a large 
sheet of paper, which is Facius’ engraving of Sir Joshua Reynolds’ “Nativity,” 
and his right hand upon his leg. His left arm is shown to the wrist. The back- 
ground is dark, and an opening somewhat lighter than the rest of the background 
appears at the right side of the picture. 

The portrait was painted for John Boydell, the London publisher and print- 
seller. In 1869 it was brought from London to Boston by an English dealer, and 
sold there at auction for $41 on December 10, 1869, to William Sumner Appleton 
(1840-1903) of Boston. At his death it was inherited by his son, William Sumner 
Appleton, Esq., of Boston. 


EXHIBITED— 
At the Museum of Fine Arts, Boston, in REpRoDUCED in the Bulletin of the Society 
IQI5. for Preservation of New England An- 
In the Building of the Society for Preser- tiquities, for October, 1919, Vol. X, No.1, 
vation of New England Antiquities, Bos- Serial No. 20. 
ton, by the present owner. The portrait is Not listed in Mason. 
still there. Listed in Fielding. 


[ Zllustrated | 


318 


*( 290 ): 
JOHANN GOTTLIEB FACIUS 


c.1750-alter 1802 
k. OR biographical data see the preceding sketch of his brother. 

London, c. 1785. Canvas, c. 36x 28 inches. Owing to the absence of the present 
owner in Europe it was impossible to secure a photograph and a description of the 
colors. An anonymous line engraving after this portrait shows Johann Gottlieb 
Facius at half-length, seated in a carved armchair upholstered in brocade and 
studded with round-headed nails, turned three-quarters to the left, with his eyes 
directed at the spectator. His powdered hair is worn in roils over his ears. He 
wears a dark coat, a light waistcoat with a double row of buttons, white turned- 
down collar and white tie. Shirt ruffles show at his wrists. His clasped hands rest 
ona sheet of paper which lies on a cloth-covered table in front of him. At his right 
elbow stands, on an easel, a framed picture, only half of which is visible, showing 
an angel inclouds. The background is plain. 

This portrait belonged to Eastman Johnson (1824-1906), the artist, of New 
York City, and was sold by his widow to Rutherfurd Stuyvesant of New York City. 
It is now in Mrs. Rutherfurd Stuyvesant’s country home at Allamuchy, Warren 
County, New Jersey. 


ENGRAVED, in line, anonymously, and pub- Not listed in Mason. 
lished by Hurst, Robinson & Co., London, Listed in Fielding, No. 50. 
June, 1819, 87% x 634 inches. 


( 291 )s 
SAMUEL FALES 
1775-1848 
A SON of Nathaniel and Elizabeth (Bradford) Fales of Bristol, Rhode 


Island, where he was born. He moved to Boston about 1794, and 


in 1801 married Abigail Haliburton (1773-1839) of Windsor, Nova 


319 


SAMUEL FALES 
Scotia, a niece of Mrs. Abiel Smith (q.v.) and Mrs. Barney Smith (q.v.). 


He became a successful merchant, shipowner and manufacturer in 
Boston. In 1833-34 he was Alderman, and from 1834 to 1846 
President of the Union Bank. 

Boston, 1806. Panel, 28x23 inches. Bust portrait, turned three-quarters 
to the right, with his brown eyes directed to the spectator. He wears a black coat 
with standing collar, white neckcloth and white frilled shirt. His forehead is high 
and his hair rather thin. The background is plain and dark. 

This portrait was inherited by his son, Samuel Bradford Fales (1804-1880), 
of Philadelphia, from whom it passed to his nephew, Haliburton Fales of New 
York City, and from him to his son, the present owner, Lieutenant De Coursey 
Fales of New York, a great-grandson of the subject. 


EXHIBITED at the exhibition of Stuart’s portraits, Boston, 1828, No. 97. 


( 292 )s 
EARL OF FARNHAM 


Died 1800 


ARRY MAXWELL, son of John, first Baron Farnham of Farn- 

ham, County Cavan, Ireland, by his wife Judith Barry. He suc- 
ceeded his brother as third Baron in 1779, and was created Viscount 
Farnham in 1781, and Earl of Farnham in 1785. He married, first, in 
1757 Margaret, second daughter and co-heir of Robert King of Drews- 
town, County Meath; second, in 1771, Grace, daughter of Arthur 
Burdett of Ballymancy. He was succeeded by his only son, John James, 
the second Earl of Farnham. 


According to Mason, Stuart painted his portrait in Dublin. 


320 


( 29 3 )s 
CHARLES FARRAN 
H, married a Miss Lambert (q.v.). 


Owned by Miss Farran, Highfield Manor, Whitechurch, County Dublin, 


Ireland. 


Not listed in Mason. Listed in Strickland as by Stuart. 


( 29 4 )s 
MRS. CHARLES FARRAN 
HE was Miss Lambert and married Charles Farran (q.v.). 


Owned by Miss Farran, Highfield Manor, Whitechurch, County Dublin, 
Ireland. 


Not listed in Mason. Listed in Strickland as by Stuart. 


( 295 )s 
GENERAL JOHN R. FENWICK 
1773-1842 
ORN in Charleston, South Carolina; died in Marseilles, France. 
He was educated in England and early in life was distinguished for 
his literary attainments. Appointed lieutenant of U.S. Marines in 1799, 
captain in 1809, and lieutenant-colonel of light artillery in 1811. He 


was severely wounded and made prisoner at the battle of Queenstown 
Heights in 1812, and was brevetted colonel in March, 1813, for gallant 


221 


GENERAL JOHN R. FENWICK 


conduct on the Niagara frontier, and on the same date appointed 
adjutant-general of the army. He was commissioned brevet-brigadier- 
general in 1823. 

Washington, c.1804. Canvas, 2812x 23% inches. Half-length, turned three- 
quarters to the left, with his brown eyes directed towards the spectator. His hair is 
slightly powdered; his complexion is florid. He wears the uniform of the Colonial 
army, consisting of a dark blue coat with a high red collar, gold epaulettes, gold 
braid trimmings on the red collar and coat front, a white standing collar and a black 
silk neckcloth. The gold hilt of his sword with its crimson sash is at his left side. 
The background shows reddish-gray clouds. 

This portrait came into the possession of William Sidney Drayton, U.S.N., 
undoubtedly through his maternal grandmother, Mrs. Martha (Fenwick) 
Gadsden. He bequeathed it to his son, Percival Langdon Drayton, U.S.N. 


(d.1892),and he left it to his cousin, the present owner, J. Coleman Drayton, Esq., 
of New York City. 


EXHIBITED at the Beverly Historical Society, Beverly, Massachusetts, in 1924. 


[ ZJlustrated | 


-( 296 )s 
EDWARD, LORD FITZGERALD 
1763-1798 
DWARD, LORD FITZGERALD, the son of James, first Duke 
of Leinster and twentieth Earl of Kildare, and Lady Emilia Mary 
Lennox, daughter of Charles, second Duke of Richmond. He entered 
the army at an early age and served gallantly in the Southern Campaign 
in the battle of Eutaw Springs. When in Canada, later, he is said to have 
been received as a blood-brother by the Bear Tribe of Indians. On re- 


turning home he went to Paris, where he became a great admirer of the 
Girondists, and was cashiered for attending a banquet of the revolu- 


322 


EDWARD, LORD FITZGERALD 


tionists in Paris. He married at Tournai in December, 1792, returning 
to Ireland with his charming wife, known as Pamela, who perhaps was, 
and perhaps was not, the daughter of the Duc d’Orléans and Madame 
de Genlis. His wife’s name was Stephanie Carolina Anne Syms. In 1796 
he began to apply his French lessons to his own country, and joined the 
conspiracy of the United Irishmen to set up a Republic in Ireland. He 
was arrested, wounded in the scuffle of his arrest, and died in prison of 
his wounds. His wife married again and died in 1831. 


Dublin, c. 1790. Canvas, 3834 x 30% inches. He is standing, shown to below 
the waist, leaning with his left elbow on a bank of earth, three-quarters left, his 
body nearly front, and his large gray-blue eyes directed slightly to the spectator’s 
right. His right hand, gloved, rests on his hip; the left hand holds the other glove. 
He wears a rich brown coat, cut away at the waist, in the fashion of the French 
republicans of the period; a white double-breasted waistcoat with wide lapels; a 
very full, high, white stock; light greenish-gray trousers. His hair, unpowdered, 
is luxuriantly thick, fluffy, and blonde, nearly covering his forehead and in long 
curls on his shoulders. His face is thin and of a fresh complexion, the nose long and 
prominent, the eyebrows dark and heavy. The background isa cold blue sky with 
clouds of bluish-white, becoming brownish-orange in the lower left corner, with a 
distant blue landscape suggested below. The portrait is signed “Stuart”? in the 
lower right corner, below the elbow. 

Bought by Mr. Catholina Lambert of Paterson, New Jersey, from Agnew & 
Sons, London, the picture was sold as a ‘Portrait of a Young Gentleman” by John 
Russell, R.A., at the Lambert sale in New York, in 1916, to Messrs. Scott & 
Fowles, New York. Upon being cleaned, the signature appeared. 


Not listed in Mason. 
[ Zllustrated | 


343 


( 297 )s 
JOHN, LORD FITZGIBBON 
1749-1802 


E was a second son of John Fitzgibbon of Mount Shannon, near 
Donnybrook, Ireland, where he was born. He distinguished him- 
self at Trinity College, Dublin, and Christ Church, Oxford. He was 
called to the Irish bar in 1772; Attorney-General for Ireland in 1783; 
married on July 1, 1786, Anne (d. 1844), eldest daughter of Richard 
Chapel Whaley of Whaley Abbey; Lord Chancellor of Ireland in 1789, 
in which year he was created Baron Fitzgibbon; created Viscount Fitz- 
gibbon in 1793, and Earl of Clare in 1795. He died at his house in Ely 
Place, Dublin, on January 28, 1802. Fitzgibbon became Lord Chancel- 
lor at the time when Ireland was in a very disturbed state, and he made 
himself generally hated for strong measures which he took in repressing 
treason, and for his opposition to Catholic emancipation; he was a man 
of energy and determination, and was noted in the courts for his rapid 
decisions; he did more than any other man to bring about the Union. 
Dublin, 1789. Canvas, 962 x 605% inches. Whole length, figure turned slightly 
to the right, head and brown eyes to left; dressed in the Lord Chancellor’s robes. 
Full powdered wig, ruddy complexion; white neckcloth and lace jadot, black 
broadcloth coat and waistcoat; black satin buckles; Lord Chancellor’s robe of 
black, elaborately trimmed with gold frogs. Gold fob at waist; right hand on hip, 
left arm hanging at side, the hand holding unopened letter. At right, a table cov- 
ered with rich old-rose cloth on which lies a gold mace. On the floor, leaning against 
the table, is the Chancellor’s purse, with tassels at corners, and embroidered with 
the arms of Great Britain. In the background at the right is a stone column, behind 
which is draped an old-rose curtain, caught back with cords at the left, disclosing an 
attractive distant, misty landscape with blue sky and pinkish and yellow clouds. 
The floor is a warm brown, as is the column. 


His two sons successively succeeded to the title, which became extinct in 1864, 
on the death of the third earl. This portrait then passed to a cousin of the third earl, 


324 


JOHN, LORD FITZGIBBON 
Alexander James Beresford Hope (1820-1887) of Bedgebury, near Goudhurst, 


Kent, and at his death, to his son of the same name, who sold the house and its con- 
tents to Isaac Lewis. The estate was sold at public auction in May, 1919, and this 
portrait was bought by Messrs. M. Knoedler & Co. of New York, who sold it in 


December, 1919, to the Cleveland Museum of Art, Cleveland, Ohio. 


EXHIBITED by A. J. B. Hope at South Ken- 
sington Historical Portrait Exhibition, 
1868, No. 881. 


ENnGRAVED— 

In mezzotint by C. H. Hodges. Published 
London, September 20, 1790. (J. Chal- 
oner Smith, No. 14.) 

In stipple (half-length only) by W. Sedg- 
wick. 

In line (half-length only) by J. B. Bird in 
“A History of Ireland in the Lives of 
Irishmen,” by James Wills, Vol. V, fac- 
ing page 432. 

In line (half-length only) by Le Conte, in 
“The Irish Nation; Its History and Its 
Biography,” by James Wills and Free- 


man Willis, London, n.d., Vol. III, fac- 
ing page 306. 

In line (half-length only) vignetted, by S. 
Freeman. 

REPRODUCED— 

In half-tone, in the Bulletin of the Cleve- 
land Museum of Art, January, 1920. 

In half-tone, in Arts and Decoration, No- 
vember, 1922, page 35. 

In half-tone, in International Studio, De- 
cember, 1923, page 258. 

Listed in Mason twice, as “Lord Chancellor 
Clare” and “Lord Fitzgibbon.” 

A copy made about 1789 by Robert Home 
(1752-1834) isin the Examination Hall, 
Trinity College, Dublin,and another copy 
is in the King’s Inns. 


[ Illustrated | 


( 298 ): 
MRS. SIMEON FLINT 


1701-13. 
YDIA FORD of Boston, Massachusetts. In 1810 she married Simeon 
4 Flint (d. 1857) of Charleston, South Carolina. 
Boston, c. 1810. Panel, 2614x21% inches. She is shown life-size to below the 
waist, and wears a light-colored gown with a lace yoke extending over the bodice, 
to which it is fastened with a brooch of blood topaz surrounded by pearls. The 


neck of the yoke is finished with a ruche. Her earrings match the brooch with 
drops of the same stone. On the edge of the right shoulder and over the right arm 


325 


MRS. SIMEON FLINT 


is draped a bluish-colored scarf or mantilla extending around the back and carried 
on the partly extended left arm. 

Her portrait was inherited by her son, Doctor William Flint (1814-1859), 
who left it to his wife, Mrs. Matilda Beekman (Rowan) Flint (d. 1889), and 
it was bequeathed to her daughter, Fanny Estelle Flint, wife of Pontus H. 
Conradson, Esq., of Franklin, Pennsylvania. At her death in 1922 the portrait 
became the property of her husband. 


Not listed in Mason. 


( 299 )s 
COUNT FLUKE 
H, was a Russian gentleman (Mason). 


*C 300 ): 
MRS. JAMES FORD 


Boston, c. 1823. Canvas. Half-length, turned half-way to the left. On her 
dark curly hair she wears a muslin cap, trimmed with white lace, and her dark eyes 
are directed to the spectator. She wears a low-cut dress edged with lace and a dark 
shawl is draped over her right shoulder and left forearm. The background is plain. 
I am under the impression that only the head is by Gilbert Stuart and the remainder 
by Jane Stuart. 

This portrait was owned in 1897 by her daughter, Mrs. Heloise Chamberlain 
of San Francisco, California. 


Not listed in Mason. [ Zllustrated | 


326 


( 301 »)s 
EDWIN FORREST 
1806-1872 


POPULAR actor and founder of the Forrest Home for Actors, at 
Holmesburg, Pennsylvania. 


This portrait is owned by the Forrest Home, Holmesburg, Pennsylvania. 


+( 302 )s 
MRS. JOHN FORRESTER 
1788-1867 


HE was Charlotte, daughter of Doctor Elisha and Mehitabel 

(Pedrick) Story of Marblehead, Massachusetts, and a sister of Judge 

Joseph Story (q.v.). She married in 1810 John Forrester (1781-1837) 
of Salem, Massachusetts. 


Boston, 1828. Panel (s), 2634 x 21% inches. She is shown bust, three-quarters 
left, with her grayish-blue eyes directed to the spectator. Her luxuriant curly hair 
is parted on her forehead and is chestnut brown. Her complexion is light, with 
ruddy cheeks. She wears a low-cut, high-waisted white dress with a surplice neck 
which is trimmed with a narrow edging. On her breast is a large oval pin, and 
about her shoulders is loosely thrown a scarlet India shawl, with decorated borders. 
The background is plain and of a greenish-gray tone. Stuart was at work on this 
portrait when overtaken by his last illness, and had finished nothing but the head. 
After his death, his daughter Jane painted the remainder of the portrait. Stuart is 
said to have painted the head with much interest because of Mrs. Forrester’s 
resemblance to Mrs. Benjamin West, the wife of his old master. 

Her portrait descended at her death to her daughter, who bequeathed it to her 
niece, Miss Marianne Silsbee Devereux of Norton, Massachusetts. In 1912 Miss 
Devereux presented the portrait to the Essex Institute, Salem, Massachusetts. 


EXHIBITED at Copley Hall, Boston, at “A Loan Collection of Portraits and Pictures of Fair 
Women,” in 1902. 


327 


( 302 )s 


RIGHT HONORABLE JOHN FOSTER 
1740-1828 


SON of Anthony Foster, Chief Baron of the Exchequer in Ire- 
land. He was a graduate of Trinity College, Dublin, and was 
called to the Irish bar in 1766. Speaker of the Irish House of Com- 
mons from 1785 until the abolition of that office at the Union, which 
he strenuously opposed. He was Chancellor of the Exchequer in 
1785; Chancellor of the Exchequer of Ireland in 1804-6 and 1807-11. 
In 1821 he was created Baron Oriel of Ferrard. He married in 1764 
Margaretta(d.1824), daughter of Thomas Burgh, M.P., of Bert, County 
Kildare. She was created Baroness Oriel in 1790, and in 1797, Viscount- 
ess Ferrard. Their only son, Thomas Henry Foster (d. 1843), who as- 
sumed the surname of Skefhington, married in 1810 Harriet (d. 1831), 
only child of Chichester, Earl Massareene, and on his death in 1816, she 


became in her own right the Viscountess Massareene. 


Dublin, 1791. Canvas, 8312x597 inches. Full-length, standing directed to 
front, with brown eyes to spectator’s right; powdered wig. White neckcloth and 
white lace 72407; black satin coat, waistcoat and knee-breeches; dark brown stock- 
ings, low black shoes with gold buckles; gray black robe with gold braid on edge of 
robe and on arms. The table is covered with a henna-colored velvet cloth with gold 
fringe. On the table lie a large gold mace, and three upright books bound in brown 
leather, marked, respectively, reading from left to right: ‘Trade of Ireland,” 
“History of Commerce,” “Irish Statutes”; also two sheets of paper, partially rolled 
up, on the upper of which may be deciphered ‘‘Plan for Establishing a Nation,” 
and on the lower sheet the words “extending” and “linen” may be seen. Near by 
are several packets of letters, the upper one marked “‘Corn Trade.” In the back- 
ground,at right of figure, are gray stone columns on a pedestal, making the first of a 
succession of columns extending across entire picture and forming an amphitheatre 
supporting an arched roof. Behind the first and between it and the next column, is 
draped a red curtain. The floor is tessellated and of a grayish-green tone, as is the 
background of retreating columns. The picture has probably been cut down slightly 


328 


RIGHT HONORABLE JOHN FOSTER 


at the bottom, and still more at the top, as it does not correspond in shape with the 
mezzotint which Hodges made from the picture directly it was painted. 

The portrait was inherited by John Skefington (1812-1863), tenth Viscount 
Massareene, and at his death by his son Clotworthy John Eyre Foster Skeffington 
(1842-1905), eleventh Viscount, and then by his son, Major Algernon William 
John Clotworthy Skeffington, D.S.O.,twelfth Viscount, of Antrim Castle, Antrim, 
and Oriel Temple, Collon, County Louth, Ireland, from whom it was bought in 


1922 by Messrs. M. Knoedler & Co. of New York. 


ENnNGRAVED— 

In mezzotint, by Charles H. Hodges, 1792. 
(J. Chaloner Smith, No. 15.) 

In stipple (bust only), by P. Maguire, and 
published, 1799, by Henecy & Fitzpat- 
rick. 

There is a rather crude engraving in line, 
measuring 57/¢ x 342 inches, with neither 
the name of the artist nor that of the en- 
graver, showing him seated, three-quarters 
left,at a table upon which lies an open book, 
a closed book standing upright and a portion 
of a quill pen. His left hand has the fingers 
between the leaves of the closed book and 
with his right he is in the act of turning a 
page. Eyes to spectator, wig, high-collared 


coat with lapels, double row of brass but- 
tons, ruffles at sleeves, white neckcloth and 
ruffled shirt. The coat is buttoned, disclos- 
ing a bit of lower edge of light waistcoat. 
The following inscription is at the bottom: 


“The Right Honble 
JOHN FOSTER 


Speaker of the house of Commons of 
Ireland” 


As yet no painting similar to the engraving 
has appeared, and it is possible that the en- 
graver used the head of the full-length por- 
trait and adapted the pose to suit his fancy. 
Not listed in Mason. 
Listed in Strickland. 


| Zllustrated | 


{394 ): 
DOCTOR JOHN FOTHERGILL 
L712 750 


HE son of John Fothergill, a Yorkshire Quaker. He went to 
London in 1736 and attained great eminence as a physician, ac- 


quiring a fortune estimated at 80,000 pounds sterling. He remained 


unmarried. 


London, 1781. Canvas, 36 x 28 inches. This portrait was painted from memory 
a year after Doctor Fothergill’s death. It shows him half-length, turned half-way 


DOCTOR JOHN FOTHERGILL 


to the right, with his bright blue eyes directed to the spectator. He is seated in an 
armchair upholstered in tooled leather of brown tones and studded with brass- 
headed nails. He wearsa gray wig curled in seven rolls over the ears. His coat is of 
a light grayish-green color, with a single row of large buttons, one of which is 
buttoned; his neckcloth is white. He is seated at a table holding an open book on 
botany before him, only his right hand showing. Plain background in rich tones of 
bluish-greens. 

This portrait was acquired by the Pennsylvania Academy of the Fine Arts, 
Philadelphia, in 1903. 


EXHIBITED at the Royal Academy, London, states. (J. Chaloner Smith, 45.) 
in 1781, No. 204, as “Portrait of Gentle- REPRODUCED, in half-tone, in Charles H. 
man, done from recollection of him since Caffin’s “The Story of American Paint- 
his death.” ing,” 1907, page 40. 
ENGRAVED, in mezzotint, by Valentine Not listed in Mason. 
Green, 1781, 1234x9% inches. Two Listed in Fielding, No. 54. 
[ Zllustrated | 


+( 305 )s 
THOMAS WILLING FRANCIS 
1767-1815 
HOMAS WILLING FRANCIS was a son of Tench Francis, 
Junior (1731-1801), by his wife Anne, daughter of Charles 
Willing of Philadelphia. He became an eminent merchant in Phila- 
delphia. In 1794 he married his cousin, Dorothy Willing (q.v.), 


daughter of Thomas Willing (q.v.). 


Philadelphia, c.1800. Canvas, 29x24 inches. A bust portrait. His body is 
turned three-quarters to the left and his blue eyes are directed towards the spec- 
tator. His hair is powdered and his complexion is florid. He wears a blue coat with 
gold buttons, a white waistcoat with a loose-flowing white neckcloth. Plain dark 
neutral background. 

The picture descended to his son, Alfred Francis, then to his son, Charles 
Willing Francis of St. Louis, Missouri, at whose death it passed to his widow, who 
sold it in November, 1917, to John F. Braun, Esq., of Philadelphia. 

Not listed in Mason. Listed in Fielding. 


330 


-( 306 ) 
MRS. THOMAS WILLING FRANCIS 


1772-1847 
OROTHY, fourth daughter of Thomas Willing (q.v.) of Phila- 
delphia. She married her cousin, Thomas Willing Francis (q.v.). 
Her portrait was inherited by her daughter, Elizabeth Francis (1796-1866), 
who married her cousin, the Honorable John Brown Francis (1791-1864) of 


Providence, Rhode Island. In 1914 this portrait was owned by Mrs. Frank H. 
Brown of Providence, Rhode Island. 


EXHIBITED at Rhode Island School of Design, Providence, Rhode Island, in 1914. 


( 307 )s 
COLONEL ISAAC FRANKS 


L750 ghO2.2 


SAAC FRANKS wasa son of Moses and Sarah Franks of New York 
City, and served under Washington during the whole of the Revolu- 
tion, during which he received several wounds. After the peace of 1783 
he filled various civil commissions. In 1782 he married Mary Davison of 
Philadelphia, and lived in Germantown, Pennsylvania, and at the time 
of his death was prothonotary of the Supreme Court of Philadelphia. 
About 1805 he removed to Ephrata, and about 1815 to Philadelphia. It 
was to Franks’ house in Germantown that Washington retired from 
Philadelphia during the yellow fever epidemic. 
Germantown, 1802. Canvas, 29x24 inches. A bust portrait, showing him 


turned three-quarters to the left, with his grayish-blue eyes directed to the spec- 
tator. His gray hair is tied in a queue bow and his complexion is ruddy. He wears 


331 


COLONEL ISAAC FRANKS 


a dark blue velvet coat with gold buttons, a white neckcloth, bow tie and ruffled 
shirt. ‘The plain background is dark green. 

On the back of the portrait was pasted a slip reading, viz.: “Portrait of Mr. Isaac 
Franks. Presented to friend Isaac Franks as a token of regard by Gilbert Stuart 
Germantown Oct. 1% 1802.” 

His portrait was left by Franks conjointly to his two children, Samuel Davison 
Franks and Sarah Eliza, wife of John Huffnagle of Lancaster, Pennsylvania, each 
one by turns to have the right of possessing it for one year. At Mrs. Huffnagle’s 
death it was inherited by her son, George W. Huffnagle, New Hope, Bucks 
County, Pennsylvania, who sold it to Henry C. Gibson of Philadelphia, and by the 
latter’s will it came into the possession of the Pennsylvania Academy of the Fine 


Arts, Philadelphia. 


Exuisirtep at “Loan Exhibition of Histori- REPRODUCED, in heliotype, as frontispiece 
cal Portraits,” held at the Pennsylvania of “Publication of the American Jewish 
Academy of the Fine Arts, Philadelphia, Historical Society,” Vol. V. 
from December 1, 1887, to January 15, 

1888. 
[ Illustrated | 


( 308 ): 
REVEREND JAMES FREEMAN 


1759-1835 


E was at Harvard with Doctor Bently, Judge Dawes and Rufus 
King, and graduated in 1779. In 1782 he was invited to act as 
reader at King’s Chapel, Boston, and was ordained as pastor in 1787, a 
connection that was not severed till he resigned his charge in 1825. 
The wood-engraving by Kilburn shows a bust portrait, turned half-way to the 
left, with his eyes directed to the spectator. He has long and wavy white hair, and 
wears a black gown, white neckcloth, tied in a bow, and white shirt frills. In the 


background to the left are shelves with two rows of books, the upper one partly 
covered by a curtain. 


332 


REVEREND JAMES FREEMAN 


In 1879 this portrait was owned by Mrs. William E. Prince of Newport, Rhode 
Island, but hung in her sister’s, Mrs. Swett’s, house in Boston. 


ExHIBITED— heliotype in “Massachusetts Historical 

At the exhibition of Stuart’s portraits, Bos- Society Proceedings,” 1793, Vol. I, fac- 
ton, 1828, No. 23. ing page 48. 

At Museum of Fine Arts, Boston, 1880. ENGRAVED, on wood, by Kilburn, for Win- 

LirHocraPHED by Edwards for the Sene- sor’s “Memorial History of Boston,” 
felder Press, Boston, and reproduced as 1881, Vol. 3, page 473. 


£309 
ALBERT GALLATIN 
1761-1849 
H;: was a son of Jean and Sophie Albertine (Rolaz du Rosey) Galla- 


tin of Geneva, Switzerland. He was graduated from the University 
of Geneva in 1779. Through the influence of his grandmother, a woman 
with many friends, among whom figured Frederick, landgrave of Hesse- 
Cassel, and Voltaire, a commission of lieutenant-colonel in the Hessian 
troops, then serving in America, was offered to Gallatin, which was de- 
clined by him with the remark that he would “never serve a tyrant.” He 
came to America in 1780 and engaged in trade. He was interested in 
politics and entered public service in 1787, when he became a member 
of the state constitutional convention held in Philadelphia. He entered 
Congress in 1795 asa follower of James Madison. Under Thomas Jefter- 
son, in 1801, Gallatin was made secretary of the treasury and held the 
ofhice continuously until 1813. Minister to France 1816-1823, minister 
to England 1826-1827. President of the National Bank (afterwards the 
Gallatin Bank) of New York from 1832 until 1839. He was twice mar- 
ried, his second wife, whom he married in 1793, was Hannah, daughter 


533 


ALBERT GALLATIN 


of Commodore James Nicholson. By her he had two sons and a daugh- 
ter. Died in Astoria, Long Island, New York. Henry Adams, in his 
biography of Albert Gallatin, says: “Far more than contemporaries 
ever supposed, or than is now imagined, the treaty of Ghent was the 
special work and the peculiar triumph of Mr. Gallatin.” 


Washington, c. 1803. Canvas, 2938x237 inches. He is seen to the waist, 
seated, with his brown eyes directed to the spectator’s left, and holding a letter with 
his left hand. The top of his head is bald, and his hair is tied with a black queue 
bow. There is a cleft in his pointed chin, and his nose is long and thin. He wears a 
black coat, white neckcloth tied in a bow, and white shirt frill. The back of his 
chair, upholstered in red and studded with nails, shows above his shoulders. ‘The 
plain background is red. An extract from “The Life of Albert Gallatin,” by Henry 
Adams, Philadelphia, 1880, page 301, says: “It was at this period of his life (about 
1803) that Gilbert Stuart painted this portrait. . . . Mrs. Gallatin always com- 
plained that her husband’s features were softened. . . .” 

The portrait was given in 1908 to the Metropolitan Museum of Art, New York 
City, by Frederick W. Stevens, a grandson of Gallatin. 


Mentioned in the will of Albert Gallatin. In photogravure, for “Financial NewYork.” 
ENnGRAVED— In photogravure, by Charles B. Hall, for 
On steel, by the American Bank Note Com- Byam Kerby Stevens’ “Genealogical-Bio- 
pany. graphical Histories of the Families of 
On steel, vignette, for Henry Adams’ “The Stevens, Gallatin and Nicholson,” New 
Life of Albert Gallatin,” 1880. York, rgrt. 
In line, for the University Quarterly, New In photogravure, for “The portraits of Al- 
York, November, 1880. bert Gallatin,” by A. E. Gallatin, private- 
In line, for “The National Cyclopedia of ly printed, New York, 1917. 
American Biography,” Vol. 3, page 9 In half-tone, for James A. McCormick’s 
(New York, 1893). “The Rise and Vicissitudes of the United 
LirHoGRAPHED by Canova, and published States,” Syracuse, 1903. 
by Anthony Imber, about 1830, and in- In half-tone (in color), for Elroy McKen- 
scribed: “Painted by Stewart.” dree Avery’s “A History of the United 
REPRODUCED— States and Its People,” Cleveland, 1910. 
In photogravure (very much cut down), Not listed in Mason. 
for the large paper edition and the Stand- Listed in Fielding, No. 55, but erroneously 
ard Library edition of John Austin Stev- as in the possession of Albert Gallatin, 
ens’ “Albert Gallatin,” 1883. New York. 
[ Zllustrated | 


334 


( 310 )s 


LEONARD GANSEVOORT 
D755 Ue 1 5:LO 


A MEMBER of the Continental Congress from New York during 

1787-88; State Senator in 1791-93 and 1797-1802, and a mem- 
ber of Assembly in 1778-79 and 1788. His country-seat, “White 
Hall,” near Albany, formerly renowned for its generous hospitality, 
was occupied by his descendants until recently, when it was de- 
stroyed by fire. Leonard Gansevoort was a brother of General Peter 
Gansevoort (q.v.). 

New York, c. 1794. Canvas, 30x 251% inches. Bust, three-quarters to the left, 
with his blue eyes directed to the spectator; his natural hair is powdered and tied 
in a queue bow, and his complexion is very ruddy. He wears a grayish-black coat, 
a satin double-breasted waistcoat, white lace jabot. The plain background is of 
brown and grayish-plum tones with dark brown spandrels. 

The portrait was owned in 1917 by Mrs. Abraham Lansing of Albany, New 
York, a granddaughter of the subject, and in 1918 passed into the possession of 


Rowland N. Moore, Esq., of New York City, who deposited it with the Metro- 
politan Museum of Art, in memory of Mrs. Abraham Lansing. 


EXHIBITED at the Ehrich Galleries, New duced in Harper’s Magazine, 1881, Vol. 
York City, in May, 1919. 62, page 537. 
ENGRAVED, on wood, by Goetse and repro- Not listed in Mason. 
[ Z2lustrated | 


( 311) 
GENERAL PETER GANSEVOORT 


L740 <1 


| Dele GANSEVOORT?"S ancestors were among the early Dutch 
settlers of Albany, New York. Originally from Groningen, Hol- 
land, the family numbered among its members John Wessel Gansevoort 


335 


GENERAL PETER GANSEVOORT 


(known in his days as Wessel), who was a leader in the reformation 
movement in Holland, ranked among the learned men of his time, and 
was an intimate friend of Thomas a Kempis. In 1775 Peter Gansevoort 
was appointed by Congress a Major in the second New York Regiment. 
In 1776 he was with Montgomery in the invasion of Canada. In 1777 
he took command of Fort Stanwix, afterwards called Fort Schuyler, 
made a most gallant defence of the post against the British under St. 
Leger, and by preventing the cooperation of that officer with Burgoyne, 
contributed materially to the decisive victory at Saratoga. This won for 
him, at the age of twenty-eight, the title of “Hero of Fort Stanwix.” As 
a result of his expedition with General Sullivan against the Indians in 
1779, the State of New York appointed him Brigadier-General. 

New York, c.1794. 30x25 inches. Bust portrait, three-quarters to the left, 
with his light blue eyes directed to the spectator. His powdered hair is worn in a 
queue bow. The coat of his uniform is dark blue with buff collar and lapels, gold 
epaulettes and buttons; from the left lapel hangs the decoration of the Order of 
the Cincinnati. The lower half of the background is a greenish-blue with touches 
of orange, the upper half is reddish-brown. 

This portrait, owned by Rowland N. Moore, Esq., of New York City, is depos- 


ited with the Metropolitan Art Museum, New York. Its history is the same as that 
of the portrait of Leonard Gansevoort, by Stuart. 


ExuIBiTeDat the exhibition of Early Amer- “Godchild of Washington,” by Katherine 
ican Paintings, at the Brooklyn Museum, S. Baxter, 1897, page 365. 
February 3 to March 12, 1917, No. 93. REPRODUCED— 

Encravep by J. F. E. Prud’homme and re- In half-tone, in catalogue of the Brooklyn 
produced in Bonney’s “Legacy of Histor- exhibition, 1917, facing page 85. 
ical Gleanings,” 1875, Vol. 1, page 81. In half-tone, in Brooklyn Museum Quar- 
Winsor, “Narrative and Critical History,” terly, April, 1917. 
1889, Vol. 6, page 629. Fiske, “American In half-tone, in International Studio, Vol. 
Revolution,” 1896, Vol. 1, page 297. LXXI, No. 282, September, 1920. 

[ Illustrated | 


336 


( 312 )s 
REVEREND 


JOHN SYLVESTER JOHN GARDINER 
1765-1830 
E was born at Haverford West, South Wales, and wasa son of John 
Gardiner and grandson of Doctor Sylvester Gardiner of Gardiner, 
Maine. At the age of five years he was sent to Boston from St. Kitts 
(where his parents were then living) to be with his grandfather. From 
1776 until 1782 he attended schools in England, and returned to 
America in 1783 and began the study of law in Boston, but soon aban- 
doned this for the study of divinity, and in 1787, in New York, was 
ordained a deacon, and in 1791 a priest. In 1794 he married Mary 
Howard, a daughter of Colonel William Howard of Augusta, Maine. 
He wasassistant minister of Trinity Church, Boston, from 1792 to 1805, 
and in 1803 he received an honorary degree from Harvard. From 1805 
until 1830 he was rector of Trinity Church. He died at Harrowgate, 
England, while traveling in search of health. 


Boston, c. 1815. Panel, 2734 x 22% inches. In this portrait, which shows mie 
his head and shoulders, fe is turned three-quarters left with his brown eyes directed 
to the spectator, and wearing a black gown and white band. His curly hair, parted 
on the left side and brushed forward over his ears, was probably originally of a 
reddish-brown color, and has become iron gray, and his short sidewhiskers are 
white. His complexion is very florid. The background is dark, and a still darker 
curtain, showing red in the high lights over the head, covers the left side of the 
background. 

The portrait was inherited by his son, William Howard Gardiner of Brookline, 
Massachusetts (d. 1882), and at his death by his son, Charles Perkins Gardiner 
(d. 1908) of Boston. It then became the property of his widow, who gave it to her 
daughter, Mrs. William Robinson Cabot of Boston. 


ExHIBITED— 1912, and subsequently. 
At the exhibition of Stuart’s portraits, Bos- ENGRAVED on wood and reproduced in Win- 
ton, 1828, No. 132 or No. 140. sor’s “Memorial History of Boston,” 
At the Museum of Fine Arts, Boston, in 1881, Vol. III, page 453. 
[ Zllustrated | 


S57 


C8rE2 > 


REVEREND 
JOHN SYLVESTER JOHN GARDINER 
1765-1830 


Boston, c. 1825. Canvas (s), 352x27% inches. He is shown half-length, 
seated three-quarters right, in a gilded Empire chair, with his dark brown eyes 
directed to the spectator. He has short gray curly hair, and a very ruddy com- 
plexion. He wears a white neckcloth and bands, and a black silk gown. He holds 
with both hands an open book which rests on his lap. In the background at the left 
isa dark brownish-red curtain, in front of which, at the right center, is a brownish 
stone column to which the curtain—a small part of which appears at the right of 
the column—is loosely fastened with narrow cords, the tassel of the curtain cord 
resting on a parapet. At the right is seen a blue sky with white clouds. 

Inherited by his daughter, Mary Louisa Gardiner, wife of John Perkins Cush- 
ing (1787-1862) of Boston, who left the portrait to their son, John Gardiner 
Cushing (1834-1881), who bequeathed it to his widow. At her death in 1917 
the portrait passed to her estate. 

Deposited at Museum of Fine Arts, Boston, in 1892, where it has since re- 
mained and been frequently exhibited. 


ExnuiBiTeEDat the exhibition of Stuart’s por- copal Church in Narragansett,” by Wil- 
traits, Boston, 1828, No. 132 or No. 140. kins Updike, new edition, 1907, Vol. I, 
REPRODUCED in “The History of the Epis- page 472. 
[ Illustrated | 


"C314 ): 
HENRY FARINGTON GARDNER 
Died 1792 


SON of William and Elizabeth (Farington) Gardner and younger 
brother of Dean Gardner (died 1809), first Baron Gardner. He 
was Colonel of the 2oth Dragoons. He never married. 


338 


HENRY FARINGTON GARDNER 


In “The Farington Diary,” London, 1923, Vol. II, page 68, under date of 
December 20, 1802, the portrait is mentioned as follows: “Lord Gardner called & 
desired me to call upon him to give him my opinion of the state of his Late Brother 
(Colonel) Henry’s portrait painted by Stuart.” 


Not listed in Mason. 


( 315 af 
SAMUEL PICKERING GARDNER 


1767-1843 
A of John and Elizabeth (Pickering) Gardner. He was gradu- 
ated from Harvard College in 1786. After four years spent in 
business in Charleston, South Carolina, Mr. Gardner returned to Boston 
in 1793, and in 1800 bought the Vassall estate on Summer Street, after- 
wards the site of C. F. Hovey & Company’s store, and lived there the 
remainder of his life. In 1797 he married Rebecca Russell Lowell. 


Boston, c. 1815. Canvas, 30¥4x25 inches. Half-length, turned three-quarters 
to the left, seated in an armchair with a gilded frame and upholstered in red, at a 
table covered with a red cloth on which rests his partially closed right hand. He 
has brown curly hair and his brown eyes are directed to the spectator. He wears a 
black coat and white waistcoat, a white neckcloth, and protruding ruffle. A red 
curtain is seen in the background with a brownish-gray column indicated at left. 

The portrait was inherited by his daughter, Mary Lowell Gardner (1802- 
1854), the wife of Francis Cabot Lowell (1803-1874) of Boston, and then by 
her husband. At his death it passed to their daughter, Georgina Lowell of Boston, 
who bequeathed it to her nephew, Sidney Coolidge of Concord, Massachusetts. 


REPRODUCED, in heliotype, in “The Picker- Not listed in Mason. 
ing Genealogy,” Boston, 1897, Vol. I, fac- Listed in Fielding. 
ing page 250. 

| Illustrated | 


339 


( 316 )s 
MRS. SAMUEL PICKERING GARDNER 


1779-1853 
EBECCA RUSSELL LOWELL, daughter of Judge John and 
Rebecca (Russell) Lowell. She married in 1797 Samuel Pickering 
Gardner (q.v.) of Boston. 


Boston, November, 1810. Panel, 28 x 22% inches. She is seated, three-quarters 
left, with her grayish-blue eyes directed to the spectator. She wears a low-necked 
white muslin dress, over which is a crimson shawl. Her hair is brown, and her com- 
plexion rosy. The background is of very dark greenish-olive tones. An inscription 
is painted on the back, in Stuart’s hand: “This portrait of Mrs. Rebecca R. 
Gardner || was painted by Gt. Stuart Novem". 1810 || her age 31” 

Inherited by her daughter, Mrs. John Chipman Gray (1799-1879 ), and at her 
death by John Lowell Gardner (1804-1884) of Boston, a brother of Mrs. Gray; 
the portrait passed from the latter to his son, John Lowell Gardner (1837-1898 ) 
of Boston, who bequeathed it to his nephew, William Amory Gardner, Esq., of 
Groton, Massachusetts. 


ExuiBiTepat the exhibition of Stuart’s por- REPRODUCED, in heliotype, in “The Picker- 
traits, Boston, 1828, No. 33. ing Genealogy,” 1897, Vol. I, facing page 
251. 
[ Zllustrated | 


( 27 )s 
GENERAL HORATIO GATES 
1728-1806 
H: was born in England, and died in New York. He was an ofh- 


cer under Braddock, at whose defeat in 1755 he was severely 
wounded. After the peace of 1763 he purchased an estate in Virginia, 
on which he lived until the organization of the continental army, when 


340 


GENERAL HORATIO GATES 


he was appointed Adjutant-General with the rank of Brigadier. At the 
conclusion of peace, he retired to his Virginia estate whence, after eman- 
cipating all his slaves, he returned to New York City, where he was pre- 
sented with the freedom of the city, and in 1800 was chosen to represent 
the State in the Legislature. 


New York City, c.1794. Canvas, 4474x357% inches. He is shown three- 
quarters length, standing three-quarters left, with his brown eyes directed to the 
spectator, and his powdered hair tied with a black queue bow. He wears a dark blue 
uniform with buff collar, lapels, cuffs, waistcoat, brass buttons and gold epaulettes, 
and a white neckcloth and ruffles. A large gold medal of the Society of the Cincin- 
nati is suspended on his left breast by a blue silk ribbon from his neck. A letter is 
held in his right hand, which rests on the left hand, grasping the hilt of an upright 
sword and holding a black hat. The background is of greens and browns, with in- 
distinct brown foliage at the left, and sunset sky at the lower left. 

The portrait was painted for Ebenezer Stevens of New York, colonel of artillery 
and a great friend of Gates. At his death it was inherited by his son Horatio Gates 
Stevens of New York, and then by his son John Rhinelander Stevens (d. 1898) of 
New York. It then passed to his daughter Lucille Stevens (d. 1914), wife of Ed- 
ward Elwell Spafford of New York, and at her death to her daughter Miss Lucille 
Spafford of New York. 


Exursitep at “Loan Collection of Paint- Dexter, 562 Broadway, New York City, 
ings by Early American Artists,” held at in mezzotint, oval. 

the Metropolitan Museum of Art, New In stipple, oval, by C. Tiebout, 1798; 9.2 x 

York City, November, 1895, to May, 7.2, inches. (Stauffer, 3171.) 

1896, No. 190. REPRODUCED, in photogravure, in Mason’s 
ENGRAVED— “Tife and Works of Gilbert Stuart,” 
By J. A. O’Neill, and published by Elias 1879, facing page 183. 

[ Illustrated | 


341 


‘(318 )- 


SAMUEL GATLIFF 
Died 1806 


N Englishman who settled in America and married, in 1796, Eliza- 
beth Corbin Griffin (q.v.). He died in Philadelphia. 

Philadelphia, between 1796-1800. Canvas, 30x 24 inches. A half-length por- 
trait showing him seated, turned half to the right, in a gilt chair upholstered in 
crimson damask. His hair is powdered and his blue eyes are directed to the spec- 
tator. He wears a dark blue coat with brass buttons, a white neckcloth and 7adot, 
and lace revers fall over the lapels of the coat. He is seated at a table covered with 
a crimson cloth. The plain background is olive-green. 

His portrait passed to his widow, and at her death, in 1853, was inherited by 
Doctor Ferdinand Campbell Stewart (1815-1899) of Philadelphia, her son by a 
second marriage, who bequeathed it to the Pennsylvania Academy of the Fine Arts, 


Philadelphia. 
[ Illustrated | 


( 319 )s 
MRS. SAMUEL GATLIFF 


1779-1853 
AND DAUGHTER ELIZABETH 


LIZABETH CORBIN GRIFFIN, only daughter of Colonel 
E Samuel Griffin (q.v.) and his wife Betsy (Braxton) Grifhn, and a 
granddaughter of Carter Braxton, a signer of the Declaration of Inde- 
pendence. At the age of seventeen she married, in Williamsburg, Samuel 
Gatliff (q.v.), who died ten years later, leaving her with four daughters. 
She married, second, Professor Ferdinand Stuart Campbell, who sub- 


342 


MRS. SAMUEL GATLIFF 


sequently succeeded to the entailed estates of the Stewarts of Ascog 
House, Scotland, and had to assume the additional name of Stewart. 

Philadelphia, c. 1798. Canvas, 30x24 inches. In this portrait Mrs. Gatliff is 
painted holding in her arms her eldest child, Elizabeth. She is shown three-quarters 
length, seated half-way to the left in a mahogany chair upholstered in crimson, 
with the child in her arms. Their light brown eyes are directed to the spectator. 
Mrs. Gatliff’s complexion is beautifully fresh and her luxuriant brown hair is curly 
and worn hanging down in the nape of her neck. She wears a silver-gray dress, and 
a light tan-colored shawl is around her, covering part of her right hand. The little 
girl’s dress is white and her tight-fitting bonnet, edged with lace, is also white. On 
her forehead may be seen a little wisp of light brown hair. In the background is a 
crimson curtain draped back at the left, revealing blue sky and clouds. 

At Mrs. Elizabeth Griffin (Gatliff) Stewart’s death, her portrait was inherited 
by her son, Doctor Ferdinand Campbell Stewart (1815-1899), who bequeathed it 
to Mrs. C. F. Taylor of Philadelphia, a granddaughter of Mrs. Stewart, who in 
turn bequeathed it to the Pennsylvania Academy of the Fine Arts, Philadelphia. 


ENGRAVED on wood by Henry Wolf for the Century Magazine, 1899, Vol. 35, page 697. 


[ Illustrated | 


*C 320 ) 


CAPTAIN JOHN GELL 
Died 1806 


MEMBER of an old Derbyshire family. He was promoted to lieu- 
tenant in the navy in 1760 and commander in 1762. In 1766 
appointed to the ‘Lounaston’ of 44 guns, going to North America. In 
1780 he was appointed to the ‘Minorca’ of 74 guns and ordered to the 
West Indies, but the ship was dismasted in a gale and had to return to 
England, whence he was soon sent to the East Indies. In 1784 he re- 


343 


CAPTAIN JOHN GELL 


turned to England. Promoted to rear-admiral in 1793, and admiral in 
1799. He died of apoplexy in 1806. (His portrait by Reynolds is in the 
“Painted Hall” at Greenwich Hospital, London.) 


London, 1785. Whole length. 


EXHIBITED, according to Strickland, at the Not listed in Mason. 
Royal Academy, London, in 1785 (No. Listed in Strickland. 
160 ?, “Portrait of a Gentleman, whole 
length”). 


( 321 )s 


GEORGE III OF ENGLAND 
L735 51020 


E was George William Frederick, son of Frederick, Prince of 

Wales (1707-1751) and grandson of George II, whom he suc- 
ceeded in 1760. He married in 1761 Charlotte of Mecklenburg- 
Strelitz (q.v.). 


London, 1785 to 1788. Canvas, 2548 x 31 inches. He is shown bust, with head 
and brownish-gray eyes turned slightly to the right of the spectator, with his 
powdered wig tied ina queue bow. He wears his royal robes of brown and gray, the 
cape of which is trimmed with ermine, and there is also a double row of ermine 
down the front of the robe. Over his shoulders is an ermine cloak and fastened at 
each shoulder and hanging across his breast in a half circle is his gold chain of 
office, from which is suspended the Order of St. George and the Dragon. The 
background is of light gray tones. 

Note: Whether Stuart painted more than one portrait of George III is not yet 
known, and it may be of this portrait that Mason tells the following anecdote: 
“Stuart, after working at the picture for some time, was quite dissatisfied with the 
mouth. His efforts to improve it were not successful, and at last, in anger, or 
through impetuosity, he made a pass at it with his brush, intending to paint out the 


344 


GEORGE II OF ENGLAND 


mouth, but the brush, by a happy coincidence, gave such a turn to the outline as 
exactly met the wants of the painter, who, seeing the unexpected result of his im- 
patient blow, jumped up and down before the King, exclaiming: “T’ve got it, your 
Majesty!” “Got what?” “Your mouth, your Majesty!” At which there was a 
great laugh at Stuart’s expense. 

This portrait as well as that of Queen Charlotte (q.v.) belonged to Constantine 
John Phipps, third Baron Mulgrave, and later to Doctor Thomas Crompton of 
Manchester and Cranleigh, England, from whose estate they were purchased by 
the late Charles Henry Hart. In 1921 they were sold by his widow to the present 
owner, Thomas B. Clarke, Esq., of New York. 


EXHIBITED at the Union League Club, New York, January, 1922. 


| Illustrated | 


( 322, ) 
GEORGE IV OF ENGLAND 


According to Mason, Stuart painted him while he was Prince of Wales. 


( 323 )s 
ELBRIDGE GERRY 
Died 1867 


This portrait, together with the Stuart portraits of his brothers, James Thomp- 
son Gerry (q.v.) and Thomas Russell Gerry (q.v.), was inherited, according to 
Mason, by their sisters, the Misses Gerry of New Haven, Connecticut. 


ExuBiTep at the exhibition of Stuart’s portraits, Boston, 1828, No. 46. 


345 


"C324 ): 
JAMES THOMPSON GERRY, U.S.N. 
Hi: was lost at sea, in the sloop-of-war ‘Albany,’ which vessel he 


commanded. 


This portrait was, according to Mason, in the possession of the Misses Gerry of 
New Haven, Connecticut. 


EXHIBITED at the exhibition of Stuart’s portraits, Boston, 1828, No. 146. 


( 325 )s 
THOMAS RUSSELL GERRY, U.S.N. 
Died 1846 


The portrait was, according to Mason, in the possession of the Misses Gerry of 
New Haven, Connecticut. 


ExuIBITED at the exhibition of Stuart’s portraits, Boston, 1828, No. 13. 


-C 326 )- 
GEORGE GIBBS, SR. 


L7,3571,003 


ORN in Newport, Rhode Island, he began his business career as a 
grain merchant and later founded the shipping firm of Gibbs & 
Channing, which at one time owned seventy-five vessels sailing from 


346 


Newport to all parts of the world. For a time he was partner of Captain 
Joseph Anthony (q.v.), and in 1792 took his brother-in-law, Walter 
Channing (q.v.), as partner. He married, in 1787, as his second wife, 


Mary Channing (q.v.). 


Philadelphia, c.1798. Canvas, 30x25 inches. Bust portrait, turned three- 
quarters to the left, with his blue eyes directed at the spectator. His hair, worn long 
over his ears and at the back of his neck, is brownish-gray. He wears a black coat 
and waistcoat, and a white neckcloth. Plain dark background of neutral color, 
lighter at the left. 

This portrait was inherited by his son, Colonel George Gibbs (1776-1833) 
(q.v.), from whom it passed to his son, Professor Oliver Wolcott Gibbs (1822- 
1908), who bequeathed it to his sister, Elizabeth Wolcott Gibbs (1819-1900), 
wife of Lucius Tuckerman, and from her it passed to her son, Paul Tuckerman, 


Esq., of New York City and Tuxedo Park, New York, the present owner. 


ExHIBITED— 

At the exhibition of Stuart’s portraits, Bos- At Loan Collection of Early American Art- 
ton, 1828, No. 211. ists, Metropolitan Museum of Art, New 

At Boston Atheneum, 1836, by William York, November, 1895, to May, 1896 
Ellery Channing. (No. 175), by Theodore Kane Gibbs. 


[ Zllustrated | 


( 327 )s 
GEORGE GIBBS, SR. 
1735-1803 


A portrait of him, very similar to the preceding one, but appearing to be some- 
what larger as it shows a little more of the figure, is owned by Mrs. Stephen H. 
Pell of New York City, and hangs in the house of her father, Colonel Robert M. 
Thompson of Washington, District of Columbia. 


[ Zllustrated | 


347 


( 328 ). 
MRS. GEORGE GIBBS, SR. 


1747-1824 
Me: CHANNING, daughter of William Channing of New- 
port, Rhode Island, and a sister of Walter Channing and Wil- 
liam Ellery Channing (q.v.). She married in 1789, as his second wife, 
George Gibbs, Sr. (q.v.). 

Philadelphia, c. 1803. Bust portrait, turned half-way to the right, with her 
brown eyes almost directly looking at the spectator, inclined very slightly to the 
right. Her nose is rather prominent and over her brown hair she wears a large white 
cap with a broad black velvet ribbon. Her simple dress is dark and filled in at the 
V-shaped neck with a white tucker. The dark background is of neutral color. 

This portrait, which is now owned by her great-grandson, Paul Tuckerman, 


Esq., of New York City and Tuxedo Park, New York, has the same history as 
Stuart’s portrait of George Gibbs, Sr. 


[ Illustrated | 


( 329 )s 
COLONEL GEORGE GIBBS 
1776-1833 
EORGE GIBBS was the eldest son of George Gibbs (q.v.) of 
Newport, Rhode Island. The house in which he was born still 
stands opposite the Old Mill. In 1810 he married Laura, daughter 
of Oliver Wolcott, Secretary of the Treasury under Washington and 
Adams. His inherited wealth enabled him to take up scientific study, 
especially geology and mineralogy, to which he devoted his life. His 


collections are owned by Yale University and were purchased by them 
in 1825. He removed from Newport to an estate on Long Island, where 


348 


COLONEL GEORGE GIBBS 
he died in 1833. Colonel George Gibbs was a close friend of Gilbert 


Stuart, who painted eleven canvases for him. 


Boston, 1825-27. Panel, 26x20 inches. Bust portrait, turned half-way to the 
right, with his blue eyes directed to the spectator. His hair, which is combed from 
the back to form little locks on the forehead, is brown, as are his sidewhiskers. He 
wears a black coat with brass buttons, a white waistcoat, white standing collar, 
neckcloth and bow tie. Plain background of neutral color. 

This portrait was inherited by his son, Professor Oliver Wolcott Gibbs (1822— 
1908 ), who in turn bequeathed it to his sister, Elizabeth Wolcott Gibbs (1819— 
1906), the wife of Lucius Tuckerman, and from her it passed to Bayard Tucker- 
man (1856-1924) of Ipswich, Massachusetts, who left it to his son, Bayard 
Tuckerman, Jr., of Boston and South Hamilton, Massachusetts. 


Exu1sitTepat the exhibition of Stuart’s por- REPRODUCED, in photogravure, in “The 
traits, Boston, 1828, No. 210. Tuckerman Family,” by Bayard Tucker- 
man, I9I4. 
| Zllustrated | 


C330) 


COLONEL AQUILA GILES 
Leo. 


a son of Jacob and Johanna (Paca) Giles. Entered the 
Revolutionary War as Major and was appointed United States 
Marshal by Washington in 1792, serving until 1804. He was commis- 
sioned Brigadier-General of the United States State Militia in 1800. He 
was a member of the New York State Legislature from 1788 until 1792, 
and an original member and Vice-President of the Society of the Cin- 
cinnati. In 1780 he married Elizabeth Shipton, the daughter of a dis- 
tinguished English family. They had eleven children. 


New York, c.1794. Canvas, 29x24 inches. Half-length, to waist, turned 
three-quarters to the left with his grayish-blue eyes to the spectator. His pow- 


349 


COLONEL AQUILA GILES 


dered hair is tied with a black bow, and his complexion is rather florid. He wears 
a dark blue uniform with a red velvet high collar and red lapels; gold epaulettes 
and buttons; a white neckcloth and frilled shirt. From the left lapel of his coat 
hangs the decoration of the Order of the Cincinnati. The background is plain, 
warm gray bordering on olive tones. 

This portrait was purchased by the Wadsworth Atheneum, Hartford, Con- 
necticut, in 1908, from George H. Story of New York. 


Enoravep by E. G. Williams & Brother, A copy, made by an English artist (who 


New York. changed Colonel Giles’ coat from blue to 

REPRODUCED in “Memorial History of the red!) is owned by the Marquise de Tal- 
City of New York; Biographical,” 1893, leyrand-Perigord of Paris, a descendant 
facing page 224. of the Giles family. 


Not listed in Mason. 
[ Zllustrated | 


(331 > 


GOVERNOR WILLIAM BRANCH GILES 
1762-1830 
SON of William Giles of Amelia County, Virginia, he was gradu- 


ated from Princeton College in 1781. He became a prominent 
lawyer; member of First Congress in 1789 and continued until 1802, 
with exception of 1799-1800; United States Senator from Virginia from 
1804 to 1815, succeeding Wilson Cary Nicholas; Governor of Virginia 
from 1826 to 1829. As a parliamentary tactician he was unrivalled. 
“Mr. Giles was considered by John Randolph to be in the House of 
Representatives what Charles Fox was admitted to be in the British 
House of Commons—the most accomplished debater that his country 
had ever seen. But their acquired advantages were very different. Fox 
was a ripe scholar; Giles neither read nor studied. Fox perfected himself 
in the House, speaking on every subject; Giles out of the House, talking 
to everybody.” 


350 


GOVERNOR WILLIAM BRANCH GILES 


New York, c. 1793. Canvas, 23x19)4 inches. Bust portrait, facing three- 
quarters to the left, with his blue eyes in the same direction. His hair is powdered 
and his complexion very ruddy. He wears a rose-colored coat, a white waistcoat 
embroidered with bright pink flowers, white stock and lace jabot. The background 
is plain brown. The picture, which was damaged, has been restored, but was pos- 
sibly cut down to its present size from a 30 x 25 canvas. 

The portrait was given by Governor Giles to his intimate friend, Richard N. 
Venable of Prince Edward County, Virginia. Venable presented the portrait to 
the Philanthropic Society of Hampden-Sidney College. During a student outbreak 
the portrait was badly damaged and got back into the hands of a grandson of 
Venable’s, who sold it, about 1866, to Hugh Blair Grigsby, LL.D., of Edge Hill, 
near Charlotte Court House, Virginia, who, in 1892, sold it to the present owner, 
Clarence Winthrop Bowen, Esq., of New York City. 

“During the (Civil) War I was fortunate enough to purchase Stuart’s portrait 
of the late Governor William B. Giles, which represents him to have been quite 
handsome during the last century, when it was painted (1791-1795). I knew him 
personally as far back as forty years ago, when he was one of the handsomest men 
I ever saw. His health was bad for many years before he died.” (Letter from 
Honorable Hugh Blair Grigsby, LL.D., to Honorable Robert C. Winthrop of 
Boston, dated 30 Mar. 1866, and printed in the Proceedings of the Massachusetts 
Historical Society. ) | 


REPRODUCED (reversed) in Bowen’s “Cen- Courtesy, Frick Art Reference Library, New 
tennial of Washington’s Inauguration,” York City. 
1892, facing page I12. 
[ Zllustrated | 


( 332 )s 
ROBERT GILMOR 
1748-1822 


Bo at Paisley, Scotland; son of Gavin and Janet (Spier) Gilmor; 
settled in Maryland in 1767 and married in 1771 Louisa, daughter 
of Reverend Thomas Airy of Dorchester County, Maryland. In 1787 


351 


he removed to Baltimore and became one of the city’s richest merchants. 
They had two sons and two daughters. The oldest son, Robert (1774- 
1848), who died without leaving issue, was the noted art collector. 


Washington, c. 1804. Canvas, 294 x 24 inches. This portrait shows him bust, 
three-quarters left, his dark brown eyes directed to the spectator, and with a ruddy 
complexion. He wearsa white neckcloth and muslin tie, a high-collared dark blue 
coat with brass buttons, a white waistcoat, and black velvet collar. His powdered 
hair hangs in curls to his neck. The plain background is of dark brown tones. It 
will be noted that this portrait and the following are very similar, but the question, 
which is the original and which the replica, remains open. 

The portrait is owned by John Gilmor, Esq., of Baltimore. 


Courtesy of Messrs. M. Knoedler & Co., New York. 


[ Zllustrated | 


C333) 


ROBERT GILMOR 
1748-1822 


Washington, c. 1804. Canvas, 28x23) inches. A replica of the preceding 
picture, with the difference that in this portrait the coat is dark brown instead of 
dark blue. 

This picture came into the possession of the McTavish family through the 
marriage of the subject’s great-granddaughter, Ellen, daughter of John Gilmor 
(1808-1874) and Ellen Ward, to Alexander McTavish of Baltimore, Maryland. 
It was bought from the McTavish family by Alexander Smith Cochran, of New 
York, and deposited in the Philipse Manor Hall, Yonkers, New York. 


Not listed in Mason. 


352 


C334 


~ ROBERT GILMOR 
1808-1874 


E was a son of William and Marianne (Smith) Gilmor of Balti- 

more, Maryland, and a grandson of Robert Gilmor (1748-1822) 
(q.v.). He was educated in Baltimore and was graduated from Harvard 
College in 1828. From 1829 to 1832 he was an attaché at Paris and 
visited Scott at “Abbotsford.” Upon his return to Baltimore he became 
a capitalist, and a prominent figure in the social life of Baltimore. His 
home, “Glen-Ellen,” was planned after “Abbotsford.” In 1832 he 
married Miss Ellen Ward of Baltimore, by whom he had seven sons and 


two daughters. 


Boston, c. 1826. Panel, 2534x2134 inches. He is shown bust, three-quarters 
left, with his blue eyes directed to the spectator. He has a very rosy, light com- 
plexion, and full, red lips. His dark, rich brown hair, profuse and rather long, is 
carelessly parted on the left side, and his sidewhiskers are curly. He wears a dark 
blue coat, no buttons showing, with a high collar. About his neck is a high, flaring, 
white collar, stock, and muslin tie, with a frilled muslin shirt-front; his waistcoat 
is also white. The background is plain and dark, and his hands are not shown. 

His portrait became, probably by purchase from the family, the property of 
Mrs. James Thomas Fields (1834-1915) of Boston, or of her husband, who died 
in 1881. At her death it was loaned to the Museum of Fine Arts, Boston, and in 
1924 was presented to that Museum by Mrs. Fields’ heirs. 


REPRODUCED, in half-tone, in Bulletin of Not listed in Mason. 
the Museum of Fine Arts, Boston, April, Listed in Fielding. 


1924, page 19. 
[ Zllustrated | 


Bots 


595): 


MRS. CHARLES GOLDSBOROUGH 


ILHELMINA SMITH, a daughter of Doctor William Smith 
(q.v.) of Philadelphia. 


Mason says: “This portrait is somewhere in Maryland.” 


‘C336 ): 


MRS. JOHN GORE 
Born 1782 


ARY GREEN BABCOCK, daughter of Adam and Martha 
(Hubbard) Babcock of Boston. In 1802 she married John Gore 
(1769-1817) of Boston. 


Boston, c. 1815. Canvas, 30x 251% inches. She is shown seated, three-quarters 
left, ina gilded Empire armchair upholstered in pale yellow figured damask, with 
her dark brown eyes directed to the spectator. Her hair is a dark reddish-brown. 
She wears a low-necked, short-sleeved white gown, high-waisted, the neck 
trimmed with white lace. A red India shaw] with a figured border hangs over her 
left shoulder and arm, encircles her body, and reappears at the right side, where it 
partially conceals her right arm, and falls over the arm of the chair, and across her 
lap, where her hands are brought together. In the background, a brown curtain is 
draped, disclosing at the right the lower part of a column which rests on a parapet. 
Beyond is a glimpse of blue sky and clouds. 

The portrait was inherited by her daughter, Eliza Ingersoll Gore, wife of 
Horatio Greenough (1805-1852) of Boston, and then by their daughter, Char- 
lotte Gore, wife of Hervoches du Quilliou of La Tour de Peilz, Switzerland, who 
in 1921 bequeathed it to the Museum of Fine Arts in Boston. 


EXHIBITED at the Museum of Fine Arts, Boston, in 1880. 
Edward J. Moore, photo. 
[ ZJlustrated | 


354 


1. Siva 
ISAAC GOUVERNEUR 


According to Mason, Stuart made two sketches of his head, but they did not 
satisfy him and he rubbed them out. While he was doing this Mr. Gouverneur 
took a pinch of snuff. “Stop,” said Stuart, “and stay as you are.”” He then sketched 
him with his snuff-box in hand, and he is so represented in the portrait, which 
belonged to the late Gouverneur Kemble, who bequeathed it to Mr. Gouverneur 
Paulding of Cold Spring, Putnam County, New York. . 


At the “Loan Collection of Paintings by (seated), loaned by John L. Cadwalader, 
Early American Artists,” held at the Met- E'sq., of New York, which may have been 
ropolitan Museum of Art, New York, the portrait of Isaac Gouverneur referred 
November, 1895, to May, 1896, there to by Mason. 


was (No. 188) a “Portrait of a Man” 


C338 D: 


MAJOR JOSEPH GRAFTON 
1782-1861 
OSEPH GRAFTON was the son of Joshua and Lydia (Masury) 


Grafton of Salem, Massachusetts. He entered the army in the war of 
1812 as Major and took an active part in the conflict. After the war he 
was made surveyor of the Port of Boston. In 1817 he married Ann 
Maria Gurley (q.v.) of Boston. 

Boston, 1818 or 1819. Panel, 26x21 inches. His portrait, fresh in color and 
convincing in its handling, represents him three-quarters right, wearing a reddish- 
brown coat, buttoned, a white neckcloth tied in a bow and a ruffled shirt. His eyes 
are dark blue and his curly hair and sidewhiskers a rich dark brown. His coloring 


is brilliant. The background is of a grayish-brown tone. 
Inherited at his death by his son, Joseph Grafton, the portrait was deposited 


350 


MAJOR JOSEPH GRAFTON 


with his sister, Maria Josephine Grafton (1833-1893), wife of Charles Henry 
Minot of Boston. Her brother Joseph bequeathed it to his nephew, Joseph Grafton 
Minot, Esq., of Boston, the present owner, and for many years it has hung with the 
portrait of Mrs. Grafton in his house in Boston. 


ExHIBITED— At the Museum of Fine Arts, Boston, in 
At the exhibition of Stuart’s portraits, Bos- 1880, and again in 1914 and following 
ton, 1828, No. 4. years. 
[ Illustrated | 


C339 ): 


MRS. JOSEPH GRAFTON 
1800-1851 


NN MARIA, daughter of Honorable John Ward and Grace Han- 
field (Stackpole) Gurley of Boston. She married Major Joseph 
Grafton (q.v.)in 1817. 


Boston, 1818 or 1819. Panel, 26x21 inches. The portrait represents her 
three-quarters left, wearing a high-waisted crimson bodice, cut low, with the neck 
and armholes trimmed with white lace. The girdle and sleeves are white. Her hair 
is dark brown and worn in curls, and her head is surmounted by a comb. Her eyes 
are blue and her coloring brilliant. The background isa light brown. 

Inherited by her husband, the picture passed at his death, together with his own 
portrait by Stuart, to his son Joseph, and the history of both portraits is identical. 
They are now owned by Joseph Grafton Minot, Esq., of Boston. 


ExHIBITED— At the Museum of Fine Arts, Boston, in 
At the exhibition of Stuart’s portraits, Bos- 1880, and again in 1914 and following 
ton, 1828, No. 5. years. 
[ Zllustrated | 


356 


*C 3.40 ): 
SIR ALEXANDER GRANT 


According to Mason (page 12), Stuart painted a full-length portrait of him in 
1777, and a group portrait of his children. 


"C341 ): 
PATRICK GRANT 


Laight Pou 

HE sixth son of John Grant (1738 -1819) of Leith, Scotland. He 

sought fortune in the United States and settled in Boston about 
1800, becoming the representative of the firm of Grants & Balfour of 
London, Genoa and Leghorn, in which his brothers were interested. 
He married, first, a Philadelphian by whom he had no children. In 1807 
he married Ann Powell Mason (q.v.), daughter of Honorable Jonathan 
Mason (q.v.). While returning to Boston from France he was lost at sea 
in a storm in the Bay of Biscay, November 12, 1812. 


Boston, c. 1810. Panel, 264 x 21% inches. He is shown bust, three-quarters 
to the left, with his dark blue eyes directed to the spectator. His dishevelled hair, 
parted on the left side, is auburn, and he wears short sidewhiskers. His nose is large 
but sensitive, and his face, with its high coloring, is oval with a pointed chin. He 
wears a black high-collared coat with a white neckcloth and ruffled shirt. The 
background is plain and of a warm olive-brown tone. 

The portrait passed to his widow and at her death, in 1861, was inherited by her 
only son, Patrick Grant (1809-1895). At his death, when the family portraits 
were divided, this picture went to his son, Patrick Grant, but in 1923 it was pur- 
chased from him by his nephew, Patrick Grant, 2nd, of Chestnut Hill, Philadel- 
phia, Pa., the third son of Judge Robert Grant of Boston. The picture hangs in his 
father’s house in Boston. 

ExuIBITED— 
At the exhibition of Stuart’s portraits, Bos- At Copley Hall, Boston, 1896. 
ton, 1828, No. 53. 
[Zllustrated | 


357 


( 342 )s 
PATRICK GRANT 
Ieee O le 


Boston, c. 1810. Panel, 2644 x21 inches. A replica of the previous picture. 

This portrait was bequeathed to Judge Grant of Boston by his cousin, Henry 
Grant, British Consul General at Warsaw, who died December 31, 1896. It was 
given by Judge Grant to his eldest son, Robert Grant, Jr., Esq., and hangs in the 
latter’s house at 4 Norfolk Crescent, London, England. 


343403 


WILLIAM GRANT OF CONGALTON 


ILLIAM GRANT, a Scotchman, whose daughter Elizabeth 
married in 1848 Charles Pelham Clinton (1813-1894), second 
son of Henry Pelham Clinton, fourth Duke of Newcastle. 


London, 1782. Canvas, 95)/2x 57% inches. A full-length portrait; large black 
hat, white cravat, black coat turned back with fur, black waistcoat, breeches, and 
silk stockings, shoes with silver buckles; arms crossed over chest; two figures, 
putting on skates, seated on the bank of the water; two other figures leaning 
against a tree on the right, another group skating to left; towers of Westminster 
Abbey in left distance. (Catalogue of the Royal Academy, 1878, No. 128.) 

This portrait of William Grant of Congalton, skating in St. James’s Park, is 
said to be the first picture that brought Stuart into prominence after he left 
Benjamin West’s house. It appears that the day appointed for the first sitting was 
very cold and that William Grant expressed the opinion that the weather was more 
suitable for skating than for painting portraits. Whereupon Gilbert Stuart and he 
went off to skate on the Serpentine River. This gave Stuart the idea of painting him 
in the act of skating. 

Stuart exhibited this painting in 1782 at the Royal Academy in London and 
when, fifty years after the painter’s death, it was again shown at the Royal 


ai 38 


WILLIAM GRANT OF CONGALTON 


Academy (1878), they evidently had forgotten about Stuart in England and it 
was labelled a Gainsborough, although with an interrogation mark. According to 
Mason “the exhibition had hardly opened before attention was called to this 
superb picture, and in the papers of the day there was much discussion as to who 
was really the painter, for but few believed that it was by Gainsborough.” By the 
different critics it was assigned to Raeburn, Romney, Shee and others, and the 
first one to express the opinion that it was “by ¢/e great portrait painter of America, 
Gilbert Stuart,” was Mr. Mulgrave Phipps Jackson, son of John Jackson, R.A. 

This portrait was owned in1878 by the daughter of the subject, Elizabeth 
Grant (d. 1899), wife of Lord Charles Pelham-Clinton of Moor Park, Stroud, 
Gloucestershire, England (1813-1894), and then by their son, Charles Stapleton 
Pelham-Clinton (1857-1911), who left it to his widow. 


EXHIBITED at the Royal Academy, London, in 1782, and again in 1878. 
[ Zllustrated | 


344): 


HENRY GRATTAN 


1746-1820 

ORN in Dublin, the son of James Grattan, Recorder of Dublin and 

Member of Parliament. He entered Trinity College in 1763, was 
called to the Irish bar in 1772, and delivered his maiden speech in the 
House of Commons in 1775. He was distinguished for his eloquence 
and quickly became a leader, pushing forward the question of Ireland’s 
right to an independent parliament, which was conceded in 1782. For 
his services he received the thanks of Parliament and a grant of 50,000 
pounds sterling. He retired before the outbreak of the Rebellion, re- 
turning at the end of 1799 when the question of the Union was brought 
forward. He spoke vehemently against the measure and when it was 
passed, he retired to his country seat, Tinnehinch, County Wicklow. He 


359 


HENRY GRATTAN 


afterwards became a member of His Majesty’s most honourable Privy 
Council of Ireland. He died in London and is buried in Westminster 


Abbey. 


Dublin, c. 1792. Canvas, 29x24 inches. The mezzotint engraving by Charles 
H. Hodges shows him at half-length, body to front, head turned three-quarters to 
the right. His long natural hair, rather disheveled, is powdered. He wears a double- 
breasted, high-collared coat with large metal buttons, a white neckcloth, bow tie 
and shirt rufle. The edge of a white waistcoat is showing inside his buttoned coat. 
Plain, dark background, lighter around neck and shoulders. 

This portrait hung at Tinnehinch, County Wicklow, Ireland, Henry Grattan’s 
country home, and was inherited by his son James, then by his widow, Lady Laura 
Grattan. At her death in 1888 Tinnehinch and contents passed to Sir Henry C. 
Grattan-Bellew, whose father, Thomas Arthur Bellew (1820-1863) had married 
Pauline, daughter of Henry Grattan, and assumed the name of Grattan. The 
portrait was lent to the National Gallery of Ireland by Sir Henry C. Grattan- 
Bellew. 


ExuIBITED at the Second National Portrait ENGRAVED, in mezzotint, by Charles H. 
Exhibition, South Kensington Museum, Hodges, 1792, 1434 x 10% inches. Three 
London, 1867, No. 741. states. 


<Ce yo o> oF 


MRS. MICHAEL GRATZ | 
1750-1808 


IN ce daughter of Joseph and Rosa (Bunn) Simon. She mar- 
ried in 1769 Michael Gratz (1740-1811), a Philadelphia mer- 
chant. Her daughter Rachel (1782-1823), Mrs. Solomon Moses, was 
painted by Stuart, and her husband and well-known daughter Rebecca 
were painted by Sully. 


360 


MRS. MICHAEL GRATZ 


Philadelphia, 1802. Canvas, 28 x 24 inches. She is shown half-length, seated, 
three-quarters right, in a high, square-backed upholstered chair, studded with 
brass-headed nails, with her brown eyes directed to the spectator. A white lace 
ruffled cap with a white satin bow in front, gives only a glimpse of her hair. She 
wears a low-necked black dress, with a white muslin tucker, exposing the throat, 
and with loose sleeves reaching half-way between her elbows and wrists. About 
her neck is a short necklace. Her hands are brought together on her lap. In the 
background, a strip of light walnut panelled wall shows at the right, draped with 
a crimson curtain. 

Her portrait was, in 1879, in the possession of Benjamin Gratz of Lexington, 
Kentucky, and is now owned by Henry Joseph, Esq., Montreal, Canada. 


REPRODUCED— 
(Head only) in The North American, Phil- In half-tone, in The Menorah Journal,New 
adelphia, December 1, 1912. York, February, 1925. 


[ Illustrated | 


C346 ): 


JOHN CHIPMAN GRAY 
1793-1881 


E was a son of William (q.v.) and Elizabeth (Chipman) Gray 
(q.v.) of Salem and Boston. He was graduated from Harvard 
College in the class of 1811, and married in 1820 Elizabeth Pickering 
Gardner (1799-1879), daughter of Samuel and Rebecca Russell 
(Lowell) Gardner of Boston. He received the degree of LL.D. from 
Harvard in 1856, and was a member of the Massachusetts Historical 
Society in 1841, anda Fellow of the American Academy. 
Boston, c. 1825. Canvas (s), 3534 x27) inches. Seated, three-quarters left, in 
armchair of yellowish-brown and upholstered in red, at a table covered with a dark 
red cloth. His small twinkling brown eyes are directed to the spectator, his com- 


plexion is fresh, and his dark brown hair is brushed forward over his temples and 
surmounts a high forehead. His hands are of an unpleasant brownish-red color, 


361 


JOHN CHIPMAN GRAY 


like those in the Zachariah Hicks portrait; the left hand, resting on the edge of the 
table, holds a closed book, the index finger being thrust between the pages, and the 
right hand, partially closed, rests near it, on a book lying on the table. He wears a 
reddish, purplish-black, high-collared coat, a white neckcloth and a frilled shirt, 
a high white standing collar projecting above the neckcloth. The background is of 
an olive tone and at the left, extending from the upper corner of the picture to the 
table, hangs a red curtain in stiff, awkward folds. 

His portrait was inherited by his nephew, John Chipman Gray (1839-1915) 
of Boston, and then passed to his widow. 


SG hvhok 


WILLIAM GRAY 
1750-1825 


ILLIAM GRAY was a son of Abraham and Lydia (Calley) 

Gray of Lynn, Massachusetts. In 1782 he married Elizabeth 
Chipman (q.v.) and settled in Salem, Massachusetts, where he became a 
leading ship-owner of New England. In 1809 he removed to Boston, 
where he amassed great wealth and was from 1810 to 1812 Lieutenant 
Governor of that State. | 


Boston, 1807. Panel (s), 3134x2514 inches. One-half length, seated in an 
armchair upholstered in red, his body turned three-quarters to the right, with his 
rugged and genial face and smiling blue eyes turned almost to the spectator. His 
hair is sandy, thin on top and worn long in the neck, where it is tied with a black 
queue bow. He wears a high-collared black coat, white neckcloth, and ruffled 
shirt. Both hands, only the left hand not shown, rest on a table covered with a red 
cloth on which lie two or three partially opened letters, and in his right hand he 
holds an opened letter. The background is plain and of dark brownish tones. 

This portrait was painted by Stuart for Captain William Ward (1761-1827) 
of Salem, who was a captain of some of William Gray’s vessels, and also Mrs. 


362 


William Gray’s brother-in-law. It remained in his possession until his death, when 
it passed to his son, Thomas Wren Ward of Boston, who in 1862 bequeathed it to 
his widow. At her death in 1874 the picture came into the possession of her son, 
Samuel Gray Ward of New York and Washington, who left it at his death in 1908 
to his son, Thomas Wren Ward of New York, Boston, and Jamaica Plain, Massa- 
chusetts, and who sold it in 1921 to Roland Gray, Esq., of Boston, the great-grand- 
son of William Gray. 


EXxHIBITED— 

At the exhibition of Stuart’s portraits, Bos- him through his father, and his great- 
ton, 1828, No. 68. uncle, John C. Gray, Sr. 

At Museum of Fine Arts, Boston, on several Other copies are owned by the Peabody Mu- 
occasions. seum, Salem, Massachusetts, and by Mrs. 

A copy, by Jane Stuart, is owned by Roland Frederick Tudor, Cambridge, Massachu- 
Gray, Esq., of Boston. It came down to setts. 


[ Zllustrated | 


C348 


WILLIAM GRAY 
1750-1825 


Boston, 1807. Canvas, 3238 x 26% inches. A replica of the previous picture. 

This portrait was inherited by his son, William Rufus Gray (q.v.) of Boston, 
and then passed to his widow. At her death in 1867 it became the property of their 
son, William Gray (1810-1892) of Boston, who bequeathed it to his daughter, 
Isa Elizabeth Gray (1841-1923) of Boston, who left it to her nephew, Francis 
Gray, Esq., of Milton, Massachusetts. 


EXHIBITED in 1871 at the Boston Atheneum. 


363 


(e390: 


MRS. WILLIAM GRAY 
eC Onkoa4 


LIZABETH CHIPMAN, daughter of Honorable John and 
Elizabeth (Brown) Chipman of Marblehead, Massachusetts. She 
married in 1782 William Gray (q.v.) of Salem and afterwards of Boston. 


Boston, 1807. Canvas (s), 3236x2638 inches. She is shown seated in an 
Empire armchair of yellowish wood, upholstered in old rose velvet, turned to the 
left, in an easy but erect attitude. Her face has a pleasant expression, her com- 
plexion is fresh and her brown eyes are directed to the spectator. Her brown hair 
shows in three long ringlets on her forehead, her head being covered with a white 
lace scarf which, falling at her right side, encircles her body and reappears over 
her right forearm, left elbow and in her lap. She wears a creamy white satin dress 
with low neck and high waist, the neck being completely filled in with white mus- 
lin terminating at her neck in two white lace ruffles. Her hands are clasped in her 
lap. The background is filled by a heavy curtain of rich red (claret colored in the 
high lights), draped back at the left and revealing a blue sky flecked with dark 
clouds, and the base of a column on a parapet. 

Her portrait passed at her husband’s death to her son, John Chipman Gray 
(1793-1881) of Boston, and at his death was inherited by his nephew, John 
Chipman Gray (1839-1915) of Boston, who left it to his widow. 


ExuisitTep at the “Loan Collection of Por- REPRODUCED, in photogravure, in “Wil- 
traits of Women,” Copley Hall, Boston, liam Gray of Salem,” by Edward Gray, 
March 11-31, 1895, lent by JohnC. Gray. 1914. 


364 


( 350 )s 


WILLIAM RUFUS GRAY 
1783-1831 


E was the eldest son of William (q.v.) and Elizabeth (Chipman) 

Gray (q.v.) of Salem and Boston. He was graduated at Harvard 
College in 1800, and in 1807 he married Mary Clay (1790-1867) of 
“Silk Hope,” Bryan County, Georgia. 


Boston, c. 1807. Canvas (s), 32 x 26% inches. He is shown half-length, seated, 
three-quarters left, at a sloping-topped mahogany desk. His large brown eyes are 
directed to the spectator. His hair and sidewhiskers are reddish-brown, and his 
complexion ruddy. He wears a high-collared reddish-brown coat, unbuttoned, a 
high white collar, neckcloth and ruffled shirt. He leans upon the desk top, holding 
in his left hand an opened letter, and other letters lie upon the desk. In the lower 
right corner appears the arm of the mahogany chair in which he sits. The back- 
ground is plain and of grayish-brown tones. 

Inherited at his death by his widow, the portrait passed at her death in 1867 to 
their son, William Gray (1810-1892) of Boston, and from him to his daughter, 
Isa Elizabeth Gray (1841-1923) of Boston, who bequeathed it to her nephew, 
Francis Gray, Esq., of Boston, Massachusetts. 


EXHIBITED— 

At the Boston Athenzum, in 1829, by F.C. A copy, made by Jane Stuart, is owned by 
Gray (1790-1856), brother of William his great-great-great-grandson, William 
R. Gray. Gray, Esq., of Milton, Massachusetts. 


[ Illustrated | 


( 351 )s 
JAMES GREENLEAF 
1765-1843 
AMES was one of the fifteen children of the Honorable William and 


Mary (Brown) Greenleaf of Boston, Massachusetts. Appointed 
United States Consul to Amsterdam, he amassed a fortune and returned 


365 


to this country in 1795, and settled in Philadelphia, where, with Robert 
Morris and John Nicholson, he became a founder of the famous North 
American Land Company. He afterwards removed to Washington. He 
married, first, Antonia Cornelia Elbertine Scotton (or Schotten), from 
whom he was divorced; and second, in 1800, Ann Penn Allen (q.v.). 
He died in Washington. 


Philadelphia, 1795. Canvas, 30x24 inches. A little less than half-length, 
three-quarters to the left, with his blue eyes turned to the spectator. His com- 
plexion is very fair and his natural wavy hair is powdered and worn in a queue bow. 
He wears a high-collared blue coat with gilt buttons, a white neckcloth with flow- 
ing bow tie and a ruffled shirt. In the background is a rich crimson curtain, caught 
back at left and showing in the distance a blue and cloud-flecked sky. 

His portrait, a very beautiful one, was inherited by his daughter, Mrs. Walter C. 
Livingston of Philadelphia. It is now owned by the Pennsylvania Academy of the 
Fine Arts, Philadelphia. 


REPRODUCED— Republic,” by Anne H. Wharton, 1902, 
In half-tone, oval, in “Greenleaf and Law facing page 30. 
in the Federal City,” by Allen C. Clark, In half-tone, in “Masters in Art—Stuart,” 
1901, frontispiece. 1906, plate 8. 


In half-tone, in “Social Life in the Early Detroit Publishing Co., copyright. 


[Illustrated | 


< 352) 
JAMES GREENLEAF 
1765-1843 


Philadelphia, c.1795. Canvas, 30x25 inches. This portrait is not an exact 
replica of the one in the Pennsylvania Academy. It is treated with more simplicity 
and is less “dressed up.”” James Greenleaf looks a trifle stouter, his hair is not quite 
as curly and his elaborate bow tie, edged with lace, is tied differently. The plain 
background is of a deep red, lighter toward the center of the picture. 

This portrait was first owned by John Greenleaf, a brother of James Greenleaf, 
and hung in the Greenleaf house at Quincy, Massachusetts. Later it was purchased 


366 


JAMES GREENLEAF 


by Richard Cranch Greenleaf (1808-1887), who left it to his son, Richard 
Cranch Greenleaf (1845-1913), who in turn bequeathed it to his son, Richard 
Cranch Greenleaf, Esq., of Lawrence, Long Island, New York, the present owner. 


ExHIBITED at the Metropolitan Museum of Art, New York City, 1913 to 1919. 
Not listed in Mason. 
[ Illustrated | 


63530: 


MRS. JAMES GREENLEAF 
1769-1851 


NN PENN ALLEN was the eldest of the three daughters of James 
Allen, founder of Allentown, Pennsylvania, and granddaughter 
of William Allen, Chief-Justice of the Province of Pennsylvania before 
the Revolution. She was named for her aunt, the wife of Governor John 
Penn, and she was celebrated as “‘one of the most splendid beauties this 
country ever produced.” In 1800 she married, as his second wife, James 
Greenleaf (q.v.). Itis reported that Thackeray, when he paid his historic 
visit to Philadelphia, was enraptured with Stuart’s portrait of Mrs. 
Greenleaf. 

Philadelphia, c.1795. Canvas, 29x24 inches. A little less than half-length, 
showing her standing, turned three-quarters to the right, with her bright blue eyes 
directed to the spectator. Her complexion is exquisitely fresh and her wealth of 
fair hair is lightly powdered and worn in fluffy curls over her head and inlong curls 
on her neck and shoulders. A ribbon of silver and blue is in her hair and a filmy 
band in the same colors around her neck. She wears a low-necked dress of silver 
silk with short puffed sleeves of lace over long, tight-fitting sleeves of silk, a light 


blue sash and at her breast a large rosette of silver tulle touched up with blue. On 
her right shoulder is a small bow of a darker shade of blue. The background is very 


367 


dark at the left of the figure, becoming lighter at the right, where, toward the 
upper right corner, trees and foliage are sketchily indicated in tones of brown and 
green, beyond which a blue sky, turning to yellow in the lower part, is visible. 

This portrait was inherited by her daughter Mary (born 1802), wife of Walter 
C. Livingston of Philadelphia, who, during her later years, lived in Paris. In the 
summer of 1925 it was acquired in England by the Howard Young Galleries of 
New York, who sold it in October of the same year to Richard D. Brixey, Esq., of 
New York City. 


Courtesy, Howard Young Galleries. 
[ Zllustrated | 


C354 ): 


MRS. JAMES GREENLEAF 
1769-1851 


Philadelphia, c. 1795. Canvas, 29 x 24 inches. This portrait, the second which 
Stuart painted of Mrs. Greenleaf, is a replica of the one previously described, with 
the only difference that the background is dark brown at the top of the picture, 
shading down to a lighter tone towards the bottom, where spandrels of a dark 
greenish-brown may be seen. ! 

This portrait was in the possession of Mrs. J. Gillingham Fell of Philadelphia 
sometime before 1879, and from her, between 1900 and 1905, passed to her 
daughter Mary, wife of Herbert M. Howe of Philadelphia, who bequeathed it to 
the Pennsylvania Academy of the Fine Arts as a memorial to her father, the late 
J. Gillingham Fell. 


ExuisiTep at the Loan Exhibition of His- REPRODUCED— 
torical Portraits, held at the Pennsylvania In half-tone, oval, in “Greenleaf and Law 
Academy of the Fine Arts, December 1, in the Federal City,” by Allen C. Clark, 
1887, to January 15, 1888. 1901, page 201. 
ENGRAVED, on wood, by Henry Wolf, for In half-tone, in “Masters in Art—Stuart,” 
the Century Magazine, June, 1899. 1906, plate VIII. 
C. S. Bradford, photo., copyright. 
| Zllustrated | 


368 


355) )) 


MRS. JAMES GREENLEAF 
1769-1851 


Philadelphia, c. 1795. Canvas, 30x25 inches. Another replica, similar to the 
portrait in the Pennsylvania Academy of the Fine Arts, Philadelphia. Painted in 
a dark brown oval. Landscape background in brown, with glimpse of a blue sky 
and yellowish clouds at the right. 

In the possession of the Ehrich Galleries, New York, who acquired it in the 
summer of 1925 in France. 


This portrait had not come to the attention THEODORE Botton 
of Lawrence Park. Joun Hitt Morcan 
WILLIAM SAWITZKY 


C356 ): 
MRS. JAMES GREENLEAF 
1769-1851 


A third portrait which Stuart painted of Mrs. Greenleaf came into the pos- 
session of Bishop Kip of California. Later it became the property of the Mark 
Hopkins Art Gallery in San Francisco, California, and was destroyed in the earth- 
quake and fire of 1906. 


Sain 


DAVID STODDARD GREENOUGH 
Tino LOG 


HE son of Deacon Thomas and Sarah (Stoddard) Greenough of 
Boston. In 1784 he married the widow of Elisha Doane (Ann 
Doane, daughter of John and Jane (Collier) Doane of Wellfleet and 


369 


Boston). “Enjoying the use of a sufficient property, he never entered 
into professional life, but resided as a man of leisure at Jamaica Plain, 
thena part of Roxbury, Massachusetts.” 


Boston, c.1814. Panel (s), 2534x21%4 inches. He is shown bust, three- 
quarters to the left, with his dark blue eyes to the spectator. He wears a black coat 
with the top buttons unbuttoned, a white waistcoat, white neckcloth, collar and 
ruffled shirt. His curly hair and sidewhiskers are brownish-gray. Background of 
neutral tones. 

His portrait was owned in 1879 by Mrs. David Stoddard Greenough of Boston, 
the widow of his son. It is now owned by Mrs. Horatio Greenough Curtis of 


Boston. 
[ Zllustrated | 


C358 ): 


DAVID STODDARD GREENOUGH 
1752-1826 


Boston, c. 1820. Panel, 3234x257 inches. He is shown half-length, seated, 
three-quarters left, in a chair with a gilded frame, upholstered in old rose. His 
blue eyes are directed to the spectator; his hair, thin on top of his head, is brownish- 
gray, as are also his short sidewhiskers, and his complexion is florid. He wears a 
dark brown coat, cream-white waistcoat, and a white ruffled shirt and neckcloth. 
His left hand is held against his waistcoat; the right is not shown. The plain back- 
ground is of greenish-gray tones. 

Mason is in error in stating that this portrait was, in 1879, in the possession of 
Richard Greenough and in storage in Newport, Rhode Island. It has been owned 
by successive descendants, and has hung continuously in the Greenough Mansion 
at Jamaica Plain, Massachusetts, until 1924, when the estate was sold and the 
portrait taken to Boston, where it is now the property of David Stoddard Green- 
ough, Esq., great-great-grandson of the subject, who inherited it in.1923. 


3/2 


ey 9- 


DAVID STODDARD GREENOUGH, JR. 
1787-1830 


SON of David Stoddard Greenough (q.v.) and his wife Ann Doane 
(q.v.). He married Maria Foster Doane (q.V.). 


Boston, c. 1827. Panel, 29 x 23% inches. Bust, three-quarters left. Egg-shaped 
head, plump florid face, high forehead, yellowish sandy hair and sidewhiskers, 
blue eyes directed to spectator. He wears a high-collared black coat, a white neck- 
cloth tied in a small bow, and a frilled shirt. The plain background is brownish- 
gray. ee 

The portrait is now owned by a great-granddaughter of the subject, Mrs. Wil- 
liam Payne Thompson, of Longfields, Westbury, Long Island, New York, who 
inherited it from her grandfather, Richard S. Greenough, the sculptor, of Boston. 


Not listed in Mason. Courtesy, Frick Art Reference Library, New 
Listed in Fielding as “Portrait of a Gen- York City. 
tleman.” 
[ Illustrated | 


( 360 )s 
MRS. 


DAVID STODDARD GREENOUGH, JR. 


ARIA FOSTER DOANE. In 1830 she married, as a second 
husband, General William H. Sumner of East Boston, Massa- 
chusetts. 


Boston, c. 1827. Panel, 28 x 2334 inches. Bust, three-quarters to the right. Her 
dark brown curly hair is parted, with long ringlets over her brown eyes, which are 
directed to the spectator. Her complexion is fresh and her eyebrows are high- 
arched. She wears a low-necked white dress, the neck trimmed with narrow white 


371 


MRS. DAVID STODDARD GREENOUGH, JR. 


lace, body enveloped in a light brownish-yellow shawl, with black figures and a 
figured border. .The plain background is brownish-gray. 

The portrait is now owned by a great-granddaughter of the subject, Mrs. Wil- 
liam Payne Thompson, of Longfields, Westbury, Long Island, New York, who 
inherited it from her grandfather, Richard S. Greenough, the sculptor, of Boston. 


Not listed in Mason. Courtesy, Frick Art Reference Library, New 
Listed in Fielding as “Portrait of a Lady.” York City. 
[ Zllustrated | 


( 361 )s 
CYRUS GRIFFIN 
1749-1810 


E wasa son of Leroy Griffin of “Zion House,” Lancaster County, 
Virginia, and elder brother of Colonel Samuel Grifhin (q.v.). He 
was born at “Zion House” and died at Yorktown, Virginia. He married 
Lady Christina Stuart (1751-1807), daughter of John, Sixth Earl of 
Traquier; she is buried at Williamsburg, Virginia. He was a member of 
the Continental Congress from 1778 to 1781, and in 1788 was made its 
last President. He was Commissioner to Creek Nation in 1789, and 
Judge of the United States Court for the district of Virginia from 1789 
until his death. 

New York, 1794. Canvas, 17x14 inches. He is shown half-length, seated, 
three-quarters left, in an armchair upholstered in red, studded with small brass- 
headed nails. His reddish-brown hair is brushed away from his forehead and tied 
with a black queue bow. His blue eyes are directed to the spectator. He wears a 
dark gray coat with a black velvet collar, buttoned across his breast, showing a 
waistcoat of lighter gray, white neckcloth and linen shirt frills and white ruffles at 
wrist. His left elbow rests on the arm of the chair, the hand holding a letter. His 


right hand and forearm are concealed by a table, covered with a brown cloth, on 
which are a packet of letters and a glass inkwell into which a quill pen is thrust. 


372 


CYRUS GRIFFIN 


The background is of a greenish-gray, shaded, and a panelled door of a warm gray 
is shown at the left. It is said that the background shows the interior of Stuart’s 
studio. 

Inherited by his daughter Mary, who married her cousin, Thomas Griffin of 
Yorktown, Virginia, then by her daughter Eliza, wife of Doctor Robert Page 
Waller of York, Virginia; then to their son, Doctor Matthew Page Waller. Bought 
in 1921 by the present owner, Thomas B. Clarke, Esq., of New York City. 


ExuHiBiTeD at Union League Club, New liam Seton (q.v.), and it is an open ques- 
York City, February 9 to 13, 1922 (10). tion if it can be the portrait from which 
Not listed in Mason. the other portraits, known as William 
Note: This portrait, except for the back- Seton, were copied. 
ground, strikingly resembles that of Wil- 
[ Zllustrated | 


-( 362 ) 


SAMUEL GRIFFIN 
1750-1810 


AMUEL GRIFFIN was a son of Leroy Griffin of “Zion House,” 

Lancaster County, Virginia. He entered the Revolutionary War 
as Captain, and in 1775 was appointed on the staff of General Charles 
Lee and served during the campaign of 1776 in the Jerseys as Colonel, 
but resigned in 1795 on account of ill-health. He was elected a member 
of the first United States Congress, 1789-1793. In 1796 he married 
Betsy Braxton (q.v.). He died in New York and is buried in Trinity 
Churchyard. 

Philadelphia, c. 1800. Canvas, 30x24 inches. Bust portrait, turned three- 
quarters to the left, with his light brown eyes directed to the spectator. He wears a 
bluish-black coat, a white neckcloth and ruffled shirt. His hair is powdered and his 
complexion ruddy. ‘The plain background is of dark green and brown tones. 


This portrait was inherited by his daughter, Elizabeth Corbin Griffin (whose 
first husband was Samuel Gatliff, and who married, second, Professor Ferdinand 


373 


SAMUEL GRIFFIN 


Stuart Campbell Stewart), and at her death byher son, Doctor Ferdinand Camp- 
bell Stewart (1815-1899), who bequeathed it to the Pennsylvania Academy of 


the Fine Arts, Philadelphia. 
[ Illustrated | 


‘C 363 D 


ROBERT EGLESFIELD GRIFFITH 
17 OF Desa 2 
OBERT EGLESFIELD GRIFFITH, born at Whitehaven, 
England, was the youngest son of Gabriel and Ann (Cookson) 
Grifith. He came to America in 1785-1790, and was a partner in the 
well-known firm of Nicklin & Griffith, shipping merchants of Phila- 
delphia. In 1797 he married Maria Thong Patterson (q.v.). He was for 
many years President of the Society of the Sons of St. George; Warden 
of the State in Schuylkill, and Lieutenant of the First Troop, Philadel- 
phia Cavalry. His wife survived him by nineteen years; they are both 
buried at St. Stephens Church, Philadelphia, of which he was one of the 
original founders. 


Philadelphia, 1800. Canvas, 30 x 2 5 inches. Half-length, seated three-quarters 
to the right, with his brown eyes directed to the spectator. His black hair is tied 
in a queue bow. He wears a dark green coat with brass buttons and a black velvet 
collar; white neckcloth and a ruffled shirt. The plain background is of brownish 
tones. 

The portrait remained in the possession of his wife, and at her death in 1854 
was inherited by her sister-in-law, Mrs. Edward C. Coleman of Philadelphia, who 
bequeathed it to her nephew, Manuel Eyre Griffith, who left it to his son, the 
present owner, Robert Eglesfield Griffith, Esq., of Haverford, Pennsylvania. 


Exuisitepat Loan Exhibition of Historical emy of the Fine Arts, Philadelphia. 
Portraits, December 1, 1887, to January A copy was made in 1825 by Thomas Sully 
15, 1888, held at the Pennsylvania Acad- for “Mr. Pollock.” 

[ Illustrated | 


O74 


C364 ) 


MRS. ROBERT EGLESFIELD GRIFFITH 


1774-1854 
ARIA THONG PATTERSON, daughter of Major John, an 
officer in the British Army, 15th Infantry, and Catherine (Liv- 
ingston) Patterson of Philadelphia, and granddaughter of Robert 
Livingston, third Lord of the manor of Livingston-on-the-Hudson, 
New York. On the 22nd of May, 1797, she married, in Christ Church, 
Philadelphia, Robert Eglesfield Griffith (q.v.). They had ten children. 


Philadelphia, 1800. Canvas, 30x25 inches. Three-quarters seated, three-quar- 
ters to the left, in an armchair upholstered in red. Her complexion is fair and her 
abundant dark brown hair is a mass of curls held by a silvery white ribbon passed 
twice around her head, and dressed low at the nape of her neck. Her blue eyes are 
directed to the spectator. She wears a soft, long-sleeved dress, the V-shaped opening 
of the surplice bodice formed by soft folds of the material. The waist is caught in 
with a sash of the same color as the ribbon in her hair. Her hands are loosely clasped 
in her lap. In the background is a mauve-colored curtain draped back at the left, 
showing the base of a column and a blue sky with gossamer clouds. 

This portrait is owned by Robert Eglesfield Griffith, Esq., of Haverford, Penn- 
sylvania, its history being the same as that of the portrait of Mr. Robert Eglesfield 
Griffith by Stuart. 


ExuisiTep at Loan Exhibition of Histori- Repropucep in “Two Centuries of Cos- 
cal Portraits, December 1, 1887, to Janu- tume in America,” by Alice Morse Earle, 
-ary 15, 1888, held at the Pennsylvania 1903, Vol. 2, facing page 562. 


Academy of the Fine Arts, Philadelphia. C. S. Bradford, photo., copyright. 
ENGRAVED, on wood, by Henry Wolf, and 
reproduced in Century Illustrated Maga- 
zine, 1899: 36: 2. 
[ Zllustrated | 


375 


C365 ) 


ALEXANDER VIETS GRISWOLD 
1766-1843 


SON of Elisha and Eunice (Viets) Griswold. He was the third 
\ Episcopal bishop of the Diocese of Massachusetts, which at that 
time included much of New England. 


Head by Stuart, drapery by Jane Stuart. 


EXHIBITED in 1834 at Boston Atheneum Not listed in Mason. 
by the Reverend Mayhew Wainwright Listed in Fielding, No. 60. 
(died 1854). 


‘C366 )- 


WILLIAM HALE 


ILLIAM HALE married Ann Gowan (1797-1856) of Boston, 

who, after Hale’s death in the West Indies, married in 1829 
Charles Henry Locke (1804-1841), the editor of ““The Galaxy,” whom 
she survived. She and her sister Maria were daughters of William Gowan 
of Medford, Massachusetts, and owned the house of Washington Place 
on Fort Hill, Boston, in which Stuart lived as a tenant from 1817 to 
1823. This house stood until Fort Hill was leveled. 

Boston, c.1820. Panel (s), 2634x2138 inches. He is shown bust, slightly 
to the left, with his very dark brown eyes directed to the spectator. His com-_ 
plexion is very dark, and he has extremely dark brown and very thick, curly hair 
and diminutive sidewhiskers. He wears a black coat, a white collar with flaring 
points, a white neckcloth, and a muslin shirt front without ruffles or frills. The 


background is of a dark reddish-brown tone. 
The portrait was inherited by his daughter, Ellen L. Hale (1817-1 893) , wife 


376 


WILLIAM HALE 


of John Dalling Parker (1813-1888) of Boston, and she presented it to her son, 
John Dalling Parker of Boston. At his death it passed to his widow, who be- 
queathed it to her daughter, the present owner, Miss Charlotte A. Parker of Boston. 


ExuIBITED at the exhibition of Stuart’s portraits, Boston, 1828, No. 55. 


[ Zllustrated | 


‘C367 ) 


JOHN HALL 


Ve] D7, 
| Bosom in Colchester, Essex, England, and a pupil of Ravenet. For 


some time he was employed in painting on enamel for the famous 
works at Battersea and received a premium of merit from the Society of 
Arts in 1756. He became a distinguished line engraver. His principal 
engravings were after Carlo Maratti, West, Reynolds, Gainsborough, 
Stuart and Dance. On the death of Woollett, he was appointed historical 
engraver to the King,and engraved various plates for Alderman Boydell. 
He wasa member of the Free Society of Artists in 1763 and died in Soho. 
London, 1785. Canvas, 36x 28 inches. Half-length, three-quarters to the right, 
seated at a table and holding in his hands an impression of his most approved 
engraving of “‘Penn’s Treaty with the Indians” after Benjamin West. His eyes 
are directed towards the spectator. His gray wig is tied in a queue bow. He wears 
a yellow-brown coat, white neckcloth and ruffled shirt. On the table, which is 
covered with a crimson cloth, are some engraver’s tools. The background is dark. 
Presented by Messrs. Henry Graves & Co., in 1850, to the National Gallery, 


London, and deposited in November, 1883, on loan, with the National Portrait 
Gallery by the Trustees and Director of the National Gallery, London (No. 693). 


ExuIBITED by the National Gallery at the Second National Portrait Exhibition, South Ken- 
sington Museum, 1867 (537). 
| Zllustrated | 


S77 


‘C 368 D: 
MRS. HALLAM 


Boston, 1812. 
Owned by Mrs. Charles Stedman Hanks of Boston, Massachusetts. 


Not listed in Mason. 


‘C369 ): 


ROBERT HALLOWELL 
1739-1818 


OBERT HALLOWELL, a son of Benjamin Hallowell, was 

Collector of Customs at Boston. In 1771 he married Hannah, 

daughter of Doctor Silvester and Anne (Gibbins) Gardiner of Gardiner, 
Maine. 


Boston, c. 1809. Panel. Half-length, seated, three-quarters to the left, with his 
brown eyes directed towards the spectator. His complexion is ruddy and his hair 
and short sidewhiskers are white. He wears a dark coat; a yellow and white striped 
silk waistcoat; a white neckcloth and ruffled shirt. His right arm rests on the arm 
of the chair on his right hand is seen. A dark brown curtain is Ede at the left of 
the background showing the base of a column. 

This portrait was inherited by his son, Robert Hallowell (1782-1864), who 
added the name of Gardiner to his own, and at his death by his son, Robert Hal- 
lowell Gardiner (1809-1886), from whom it passed to his nephew, Robert Hal- 
lowell Gardiner (1855-1924) of Boston and Gardiner, Maine. As this manuscript 
goes to press, the portrait is still in an intermediate state of ownership. 

ExuIBITEp at a “Loan Collection of Paint- politan Museum of Art, New York City, 
ings by Early American Artists,” Novem- No. 208B. 
ber, 1895, to May, 1896, at the Metro- 


[ Zllustrated | 


378 


( 370 )s 


JAMES MOORE HALSEY 
1787-1838 


E wasa son of Daniel Halsey, and was born at Huntington, Long 

Island, New York. In 1809 he married Eliza Sanford, and lived in 
Brooklyn, New York, and was a purser in the United States Navy. He 
died in Brooklyn. 

Boston, c. 1812. Panel, 2612x21% inches. He is shown bust, almost front, 
with his brown eyes directed to the spectator, and has curly dark brown hair 
and sidewhiskers. He wears a turned-over white collar, high black stock, white 
frilled shirt, white waistcoat lapels turned up and showing inside of his high- 
collared dark blue coat with brass buttons. The plain background is of greenish- 
gray tones, and his hands are not shown. 


His portrait is owned by the estate of Edward Chauncey Halsey of Brooklyn. 
It was for sale by M. Knoedler & Co., New York, in 1924 and 1925. 


Not listed in Mason. 
| Zllustrated | 


( BIA )s 
GEORGE HAMILTON 


| LO med oo 
HIRD son of Alexander Hamilton, Member of Parliament, of 
Knock, County Dublin, Ireland, and Isabella Maxwell, daughter 
of Robert Maxwell of Finnebrogue. He entered Trinity College, 
Dublin, in 1747; called to the Irish Bar in 1756, he became Solicitor- 
General for Ireland, and from 1769 to 1776 represented Belfast in Par- 


eh 


GEORGE HAMILTON 


liament. From 1776 to his death he was a Baron of the Exchequer for 
Ireland. He married his cousin, Elizabeth Hamilton (q.v.). 


Dublin, c. 1790. Canvas, 4812x3776 inches. He is shown seated at half- 
length, three-quarters left, in a chair upholstered in dark green with brass-headed 
nails, and with his dark blue eyes directed to the spectator. He is dressed in the 
scarlet robes of his office, as a Baron of the Exchequer, and wears a large iron-gray 
wig, the ends of which fall over both shoulders onto his breast. Around his neck 
is a white lace collar, arranged over the ermine collar of his robe. Lace ruffles are 
shown at his wrists. His complexion is ruddy. His left hand rests on his lap, and 
his right hand on an upright leather-bound book, into which the index finger is 
thrust, resting on a table covered with a dark green cloth. Directly behind his head 
is a large dark gray column, behind which is draped a reddish-brown curtain 
folded back at the left, disclosing a blue sky. 

Inherited at his death by his eldest son, Alexander (1770-1808) of Hampton 
Hall, County Dublin, Ireland, and then by his second son, the Reverend George 
(d. 1833) of Hampton Hall, who bequeathed it to his son, the Right Honorable 
George Alexander Hamilton (1832-1871), who left it to his niece, the present 
owner, Mrs. Ormsby-Hamilton, of Killiney Castle, County Dublin. 


REPRODUCED, in photogravure, in “Alumni Sadleir, M.A., London, 1924, facing 
Dublinenses,” a register of the students, page 300. 
graduates, professors, and provosts of Not listed in Mason. 


Trinity College, in the University of Listed in Fielding, No. 61. 
Dublin, edited by the late George Dames Photographer: Cook, Kingston, County 
Burtchaell, M.A., etc., and Thomas Ulick Dublin, Ireland. 


[ Zllustrated | 


( 372 »)s 
MRS. GEORGE HAMILTON 


(Dates of birth and death unknown to family ) 


Bee daughter of George Hamilton of ‘Tyrella, Ireland, 
and Helen, daughter of William Godfrey of Coleraine. She mar- 
ried her cousin, George Hamilton (q.v.), by whom she had two sons. 


380 


MRS. GEORGE HAMILTON 


_ Dublin, c. 1790. Canvas, 28% x 2234 inches. She is shown to the waist, three- 
quarters left, with her light blue eyes to the spectator. Her head is covered with 
luxuriant, powdered, gray fluffy hair, surmounted by a white muslin cap, gray in 
tone. A curl falls over her left shoulder. Around her neck is tied a white kerchief. 
Her dress is of simple blue-gray satin, cut low in the neck, the upper part of the 
sleeve being slightly puffed and confined above the elbow by a pale blue ribbon. 
Over the bodice of her dress is a white muslin fichu fastened in front with a bow 
of pale blue ribbon. A light blue sash encircles her waist. In the background is a 
reddish-brown curtain, draped back at the left, showing blue sky. 

Mrs. Ormsby-Hamilton, of Killiney Castle, County Dublin, Ireland, is the 
present owner, the history of this portrait being the same as that of George 
Hamilton’s portrait. 


Not listed in Mason. Photographer: Cook, Kingston, County 
Listed in Fielding, No. 62. Dublin, Ireland. 


[ Illustrated | . 4 


e373 e) 


HUGH HAMILTON 
1729-1805 


SON of Alexander and Isabella (Maxwell) Hamilton of Knock, 
County Dublin, Ireland. He was graduated from Trinity College 

in 1747. After holding a professorship of Natural Philosophy in Dublin 
University, and several preferments, he became Dean of Armagh in 
1768, and in 1796 was promoted to the bishopric of Clonfert and Kil- 
macduagh, from which, in 1799, he was translated to Ossory. In 1772 


381 


HUGH HAMILTON 
he married Isabella Wood (q.v.) of Rossmead, ene Westmeath, and 


had two daughters and five sons. 


Dublin, c. 1790. 
Owned by Miss Hewett, Milford-on-Sea. 


ENGRAVED, in stipple, by W. Evans, 1807, Not listed in Mason. 
434 x 3% inches, as a frontispiece to Listed in Strickland. 


“Hamilton’s Works.” 


STAD) 


MRS. HUGH HAMILTON 


SABELLA WOOD, daughter of Hans Widman Wood of Rossmead, 
County Westmeath, Ireland, by his wife Frances (King), twin sister 
of Edward, Earl of Kingston. She married in 1772 Hugh Hamilton 
(q.v.), afterwards Bishop of Ossory. 
Owned by Miss Hewett, Milford-on-Sea. 


Not listed in Mason. Listed in Strickland as by Stuart. 


C37: 


GEORGE HAMMOND 
1704-1 S58 
EORGE HAMMOND was a son of William Hammond of Kir- 
kella, Yorkshire, England. He matriculated from Merton Col- 
lege, Oxford, in 1780; B.A., 1784; M.A., 1788; D.C.L., 1810. In 1783 
he entered the diplomatic service as secretary to David Hartley, who 


382 


GEORGE HAMMOND 


was conducting peace negotiations between France and America. In 
1791 he was sent to Philadelphia as the farst British Minister to the 
United States. In 1793 he married at Philadelphia Margaret, daughter 
of Andrew Allen (q.v.), Attorney General of Pennsylvania. He re- 
turned to England in 1795 and became under-secretary at the Foreign 
Office until 1806, and again from 1807 to 1809. He retired from public 
life in 1828. 


Philadelphia, c.1795. Canvas, 50x39 inches. He is shown three-quarter 
length, standing, turned slightly to his right and his left hand resting on a table. 
His complexion is fresh, his hair powdered and tied with a queue bow, and his blue 
eyes are directed slightly to the left of the spectator. He wears the Windsor Court 
uniform: blue coat with red collar and gold buttons, cream colored waistcoat and 
breeches, white neckcloth and pleated ruffled shirt. In the background at the 
extreme right is a grayish wall, in the center a crimson curtain, draped back and 
revealing a clouded sky to the left. 

His portrait was inherited by his son, Edmund Hammond (1802-1890), first 
and last Baron Hammond of Kirkella, Yorkshire, and at his death it passed to his 
daughters, the Honorable Misses Hammond of London. 


Not listed in Mason. 
[ Illustrated | 


‘C376 ): 


ROBERT HARE, SR., 
AND HIS DAUGHTER MARTHA 


ORN at Woolwich, England, a son of Richard and Martha Hare. 

He came to Philadelphia in 1773 and married Margaret, daughter 

of Charles and Anne (Shippen) Willing. His six-year-old daughter 
Martha (1779-1852) is shown in the portrait, standing beside him. 

Begun in London, finished in Philadelphia. Canvas, 47x 37 inches. In this 


portrait Mr. Hare is shown seated, three-quarters to the right, with knees crossed, 


383 


ROBERT HARE, SR. 


in an armchair upholstered in crimson brocade. By his side, leaning against him 
and held there by his left arm around her waist, is his little daughter in her white 
low-necked dress and wide silk sash. She is shown full face, her hair falling in 
curls onto her shoulders, and her hands clasped in his right hand. It is an exquisite 
natural pose, and their eyes, which are directed to the spectator, seem to reflect love 
and pride in their companionship. Mr. Hare wears a dark blue coat and waistcoat, 
pale buff knee-breeches, a white neckcloth and ruffled linen shirt. His hair is 
powdered, and his form stands out against the dark crimson curtain which, draped 
back at the right, reveals sky and clouds. A silvery-gray tone pervades the picture 
and the effect is charming. 

Owned in 1880 by his grandson, Judge Hare of Philadelphia. In 1887 it was 
owned by J. I. Clark Hare, and in 191 5 it came into the possession of Mrs. Horace 
Binney Hare, of “Harford,” Radnor, Pennsylvania. 


ExHIBITED at the “Loan Exhibition of His- December 1, 1887, to January 15, 1888. 
torical Portraits” held at the Pennsylvania REPRODUCED, in half-tone, in “Ancestral 
Academy of the Fine Arts, Philadelphia, Records and Portraits,” Vol. II, page 510. 


33, elas 


MRS. THOMAS LEADER HARMAN 
1786-1821 


HARLOTTE, daughter of Captain Sturgis Gorham of Barnstable, 

Massachusetts, by his wife Desiré (Taylor). In 1813 she married 
Thomas Leader Harman of New Orleans and died in Baltimore in 1821. 
Her daughter, Charlotte Gorham Harman, married in 1839 Henry 
William Eaton (1816-1891 ) of London who in 1887 was created Baron 
Cheylesmore. 


Boston, 1816. 
Her portrait was inherited by her daughter Charlotte, and at Henry William 


Eaton’s death it passed to their daughter, the Honorable Frances Louise Eaton of 
London. 


384 


0378): 
RICHARD HARRISON 


N agent of the Confederation, and represented the American cause 

in Spain during the Revolution. He was made Auditor of the 

Treasury by George Washington, who valued him as a personal friend, 
and he filled this office up to the time of Jackson’s administration. 

Owned in 1880 by J. H. E. Coffin of Washington, District of Columbia, whose 


wife was a grandniece of Richard Harrison, and was adopted by him when she was 


a child. 


637,92): 
DOCTOR WILLIAM HARTIGAN 
17501 OL? 


\ N YILLIAM HARTIGAN was educated as a surgeon and began 

to practice in Dublin about 1778. In August, 1780, he was 
elected a member of the Dublin Society of Surgeons. In 1789, he was 
appointed professor of anatomy in the College School (Trinity College) 
and held the position until 1798, when he became Dean of the College. 
Doctor Hartigan married, first, a Miss Barton of Straffan, County Kil- 
dare, and, secondly, Anne Elizabeth (Betsy) (q.v.), daughter of John 
Pollock of Newry. Doctor Hartigan died of what is now called “ossifi- 
cation of the heart,” and was interred in the cemetery of St. Ann’s 
Church, Dublin. 


Dublin, c. 1790. Canvas, 30x25 inches. Bust portrait, turned three-quarters to 
the left, with his light brown eyes directed slightly to the spectator’s right. He 


385 


DOCTOR WILLIAM HARTIGAN 


wears a black coat, white neckcloth and full muslin tie and a powdered wig tied in 
a queue bow. A plain background of yellowish-brown. 

This is the picture called in Mason “Dr. Houghton,” and described on pages 
43,44 and 45 of that book. 

Formerly owned by Charles Loring Elliot (1812-1868 ), the Syracuse and New 
York portrait painter. It was later owned by Abraham M. Cozzens, from whose 
sale in 1868 Jonathan Sturges of New York City purchased it for $500. Mr. 
Sturges bequeathed the portrait to his son, Henry C. Sturges, Esq., from whom it 
was acquired, in 1921, by Thomas B. Clarke, Esq., of New York. 


EXHIBITED at the Union League Club, New and substituted by him for the original, 
York, January, 1922. when he expected a forced sale of the lat- 
A copy was made by Charles Loring Elliot ter to meet certain obligations. 
[ Zllustrated | 


‘( 380 )- 


MRS. WILLIAM HARTIGAN 
Born 1758 


NNE ELIZABETH POLLOCK, daughter of John Pollock of 
Newry, Ireland, and the second wife of Doctor William 


Hartigan (ive). 


Dublin, 1790? Canvas, 304x25%% inches. An oval picture on a rectangular 
canvas, representing a comely, robust, full-bosomed lady, half-way to right, 
attired in a low-cut black dress, the neck of which is trimmed with wide soft white 
lace ruffles, with a small dependent bow of pink at the front. The waist is encircled 
by a wide belt of pink. The head is well covered with fluffy, curly, powdered hair, 
which hangs in loose curls about the neck and shoulders; and around the head, 
partially concealed by the hair, is a pink ribbon, which is tied in a loose bow at the 
side of the head. The complexion is fresh with high notes of carnation on the 
cheeks, and the light gray eyes gaze dreamily toward the spectator. In the back- 


386 


MRS. WILLIAM HARTIGAN 


ground is a reddish-brown curtain with high lights upon it at the right of the head, 
and beyond, at the right of the picture, is seen a sky of amber and greenish-blue 
tones, the whole set in a painted brown oval. 

The portrait was owned in 1880 by Commander Edward Terry, U.S.N. 
(d. 1882), to whom it descended from his grandfather, Mr. Carlile Pollock. 
Commander Terry bequeathed it to his niece, Mrs. E. P. Lull (Emma G. Terry) 
of Annapolis, who sold it to George H. Story of New York, and after passing 
through the hands of several New York dealers, it was bought from the Ehrich 
Galleries in 1916 by Mrs. David P. Kimball of Boston, who sold it to Thomas B. 
Clarke, Esq., of New York. 


ExHIBITED— January 12-16, 1922, by Thomas B. 
At the Museum of Fine Arts, Boston, in Clarke, Esq. 

1884, 1885 and 1886, by Mrs. E. P. Lull 

of Annapolis. REPRODUCED, in half-tone, in “One Hun- 
At the Metropolitan Museum of Art, New dred Early American Paintings,” pub- 

York City, in 1896-97. lished by the Ehrich Galleries, New York, 
At the Union League Club, New York City, 1918, page I12. 

[ Illustrated | 


( 381 )s 
CAPTAIN JOHN HARVEY 


1740-1794 
SON of Richard Harvey of Eastrey, Kent, England, he had a dis- 
tinguished career in the British navy. He married in 1763 Judith, 
daughter of Henry Wise. Badly wounded on board the ‘Brunswick’ and 
the ‘Vengeur’ in June, 1794, he was landed at Portsmouth, where he 
died from his wounds. 


The engraving by Ridley shows a bust portrait, turned half-way to the right, 
with his eyes directed toward the spectator. He wears a powdered wig, tied with a 


387 


CAPTAIN JOHN HARVEY 


narrow queue ribbon, a uniform coat with two rows of metal buttons, a light 
waistcoat, white neckcloth and frilled shirt. 


ENncRAvVED— 

In mezzotint, by John Murphy, London, In stipple, oval, by Ridley, 1803. 
1795. Two states. (J. Chaloner Smith, Not listed in Mason. 
No. 5.) Listed in Strickland. 


‘( 382 ): 
MERCY SHIVERICK HATCH 
1773 Loge 

HE was a daughter of Joshua and Susannah (Heath) Hatch of Fal- 

mouth, Massachusetts. She was engaged to be married to Edward 
Bromfield (1771-1801), son of John and Ann (Roberts) Bromfield of 
Newburyport, and a member of the well-known Boston family of that 
name, but he died soon after reaching Boston on his return from Paris, 
and Miss Hatch remained a spinster. In her early youth she and her 
widowed mother settled in Boston, where the latter kept for many years 
a fashionable boarding-house, having among her boarders at various 
times Governor Strong and Doctor Nathaniel Bowditch. Miss Hatch 
was a woman of much refinement, queenly carriage and of great beauty 
of face and figure, and as Miss “Matty” Hatch became famous as a 
Boston belle. 

“One of the old Boston merchants of that day,” says Mason, “laugh- 
ingly said that all business was suspended when it was reported that Miss 
Hatch was coming down the street, and everyone in the shop, boys and 
all, rushed to the door to see her.” After her mother’s death in 1824 
Doctor Bowditch persuaded her to buy an annuity in the company of 
which he was actuary, and as long as he lived was her friend and coun- 


388 


MERCY SHIVERICK HATCH 


sellor. At his death this trust was performed by his son as long as Miss 
Hatch lived and shortly before her death she, in gratitude for his services, 
gave him the choice between her portrait by Stuart and her miniature by 
Malbone. Mr. Bowditch chose the portrait, which has since remained in 
his family. In her latter years Miss Hatch boarded on La Grange Place, 
and shortly before her death removed to No. 2 Avon Place, where she 
died. 


Boston, c. 1810. Panel (s), 27x22 inches. She is painted half-way to right, 
wearing a low-necked white satin dress ala princesse,with a light red shawl thrown 
loosely over her shoulders. Her curly dark chestnut hair, parted on her forehead, 
is in ringlets about her temples. Her eyes, directed to the spectator, are of a brown 
so deep in color as to be almost black, and her complexion is rather high-colored. 
Her expression is pleasing, and a slight smile lurks about her lips. The background 
is of a plain dark reddish-brown color. 

Acquired at her death by Jonathan Ingersoll Bowditch (1806-1889) of 
Jamaica Plain, Massachusetts, the portrait passed at his death to his son, Charles 
Pickering Bowditch (1842-1921 ) of Jamaica Plain, and then to his son, Ingersoll 
Bowditch, Esq., of Boston, Massachusetts. 


EXHIBITED— 
At the exhibition of Stuart’s portraits, Bos- The miniature of Miss Hatch, by Malbone, 
ton, 1828, No. 183. was owned in 1902 by Mrs. -Gardiner 
At the Museum of Fine Arts, Boston, in Greene Hammond of Boston. 
1880. 


[ Zllustrated | 


‘C 383 ) 


JOHN HAVEN 
1766-1849 


E wasa son of Reverend Samuel and Mehitabel (Appleton) Haven 
of Portsmouth, New Hampshire. He was a merchant of Ports- 
mouth and married in 1791 Ann Woodward (q.v.) of that town. His 


389 


JOHN HAVEN 


grandniece, Miss Frances A. L. Haven, recollected him as a genial old 
gentleman, short of stature, with fresh complexion and long white hair. 


Boston, 1824. Canvas, 30x25 inches. He is shown bust, half-way to right, 
seated in a red chair, the corner of which is slightly visible to the left, by his right 
shoulder, with his hazel eyes directed to the spectator. His curly brownish-gray 
hair is parted in the middle and his complexion is ruddy. He wears a bluish-black 
coat showing a gray waistcoat, white collar, stock and ruffles. His left arm is resting 
on a table covered with a red cloth, on which lies a white paper, and by his elbow 
stands a large volume of a pale-brown color with faded red title space. Between the 
fingers of the left hand is a letter bearing a red seal; a white cuff is shown at the 
wrist. His right hand is not seen. The background is of grayish brown. 

The portrait was painted at the request of his son, John Appleton Haven 
(1792-1875) of New York. At Mr. Haven’s death in 1849, it passed to his 
younger son, George Wallis Haven (1808-1895), who lived in his father’s house 
at Portsmouth. At his death it was inherited by his son, Doctor George Haven 
(1861-1903) of Boston. The portrait, with that of his wife, passed to his cousin, 
John Haven of New York, son of John Appleton Haven, and at his death to his 
sister, Frances Appleton Langdon Haven of New York. At her death in March, 
1924, they became the property of the New York Public Library, in accordance 
with the will of John Haven. 


REPRODUCED, in half-tone, in Bulletin of A copy was made by his grandniece, Mrs. 
the New York Public Library, Vol. 28, Louisa A. Bradbury of Brookline, Massa- 
No. 10, October, 1924. chusetts, and is owned by her. 

| Zllustrated | 


‘C 384 ): 


MRS. JOHN HAVEN 

1771-1849 
HE was Ann Woodward, the daughter of a Portsmouth, New 
Hampshire, baker, and married in 1791 John Haven (q.v.). 


Boston, 1824. 30x25 inches. She is shown bust, half-way to left, seated in a 
light brown armchair upholstered in blue. Her gray-blue eyes are directed to the 


390 


MRS. JOHN HAVEN 


spectator. Her brown hair, almost entirely concealed by a white turban, is seen in 
ringlets on her temples. She wears a tight-fitting black silk dress with a high stand- 
ing ruffle of the same material at the neck, inside of which is a white lace ruching. 
Her right arm rests on the arm of the chair, and her right hand nestles in a scarlet 
shawl with a border design in white, gold and blue, which is thrown over her right 
wrist and is again seen, coming from the back, over her left arm. Her left hand is 
not seen. The background is of grayish-brown tones. 

Her portrait was inherited by her son, George Wallis Haven (1808-1895), 
who lived in his father’s house at Portsmouth. At his death it was inherited by his 
son, Doctor George Haven (1861-1903) of Boston. The portrait, with that of 
her husband, then passed to his cousin, John Haven of New York, son of John 
Appleton Haven, and at his death to his sister, Frances Appleton Langdon Haven 
of New York. At her death in March, 1924, they became the property of the New 
York Public Library, in accordance with John Haven’s will. 


REPRODUCED, in half-tone, in Bulletin of the New York Public Library, Vol. 28, No. 10, 
October, 1924. 
| Zllustrated | 


C3850: 


NATHANIEL APPLETON HAVEN 
L702 oat 
SON of the Reverend Samuel and Mehitabel (Appleton) Haven. 
He was graduated from Harvard in 1779 and took up the study 
of medicine and served as surgeon during the Revolution. In 1812 he 
was elected a member of Congress by the Federal party and was suc- 
ceeded by Daniel Webster (q.v.), his life-long friend. 


Boston, c. 1807. 
His portrait passed to his granddaughters, Eliza Appleton Haven (died 1897) 
and Charlotte Moffatt Haven (died 1893) of Portsmouth, New Hampshire, and 


39! 


NATHANIEL APPLETON HAVEN 


then to their cousin, Alexander Hamilton Ladd (1815-1900) of Portsmouth, 
who bequeathed it to his son, William Jones Ladd (died 1923) of Milton, Massa- 


chusetts. 





A copy, painted about 1840 by 


Cole, is owned by Mrs. Wentworth of Cambridge, 
Massachusetts. 


°C 386 ): 


JUDAH HAYS 
D772 toas 


E was a son of Moses Michael Hays, a prominent Jewish merchant 
H of Boston, and his wife Rachel. He went abroad in 1796 to study 
the French language and subsequently made several trips to Europe in 
connection with his father’s and his own affairs. At his father’s death in 
1805 he inherited an ample fortune, largely invested in Boston real 
estate. He was one of the founders of the Boston Atheneum in 1815,and 
was a man of much culture. About 1815 he removed to New York. He 
was drowned in the summer of 1832 while on a pleasure trip to Florida. 


Boston, c. 1810. Panel, 2734 x23 inches. The portrait, badly scorched by fire 
in 1912, shows Mr. Hays three-quarters right, wearing a black coat with a high 
collar, white neckcloth and loose white tie. His head is thrown slightly forward, 
his face oval with a high forehead, florid complexion, and blue eyes directed to the 
spectator. He has short curly auburn hair and sidewhiskers. ‘The background is 
plain and dark, and the hands are not shown. 

At his death his portrait came into the possession of his brother-in-law, Samuel 
Myers (1755-1836) of Richmond, Virginia, and then passed to his daughter, 
Miss Ella Myers of Richmond, who died unmarried in 1892. At her death it was 
inherited by her nephew, Major Edward Dana Trowbridge Myers of Richmond, 
who died in 1906. It then became the property of his daughter, Elizabeth Myers, 
wife of William C. Preston, Esq., of Richmond, Virginia. 


392 


C387 ) 


MRS. LEMUEL HAYWARD 
1763-1848 


HE was Sarah Henshaw, wife of Dr. Lemuel Hayward, surgeon in 
Washington’s army. 


Boston, 1828. Canvas (s), 2958x2458 inches. She is seated in an Empire 
armchair, upholstered in pinkish figured brocade, her body turned slightly to the 
left, with her head full front, and with her gray-blue eyes directed to the spectator. 
Her hair, parted, is dark brown, and on her head is a large turban of white satin, 
with pinkish tones. She wears pendant earrings. Her dress of black satin is re- 
lieved at the neck with a white muslin kerchief. An India fringed shawl of red 
covers both her forearms. The right hand is not shown, and the left hand, par- 
tially closed, and with a ring on the first, second and third fingers, rests upon the 
arm of the chair. The background is a grayish-green, with a panelled window 
revealed at the left against which hangs a heavy fringed drapery of dull brownish 
tint. Her complexion is fresh. This was the last picture begun and finished by 
Stuart, and is signed and dated in the lower left corner: “Gilbertus || Stuart || 
Pingebat || 1828.” 

Mason states: “At the request of Mrs. Hayward the artist had his name and 
date put upon the canvas. He said he had never signed his pictures, but he would 
willingly have this one marked as she desired, and asked Mr. George Brimmer to 
do it for him, his own hand being too tremulous.” 

Her portrait was inherited by her son, Doctor Joshua Hayward, and then by his 
son, Doctor John McLean Hayward. At his death it passed to the present owner, 
Sidney Willard Hayward, Esq., of Wayland, Massachusetts, great-grandson of 
the subject. 


ExHIBITED— At Copley Hall, Boston, March 2 to 23, 
At the exhibition of Stuart’s portraits, Bos- 1896, by Sidney W. Hayward, Esq. 
Kon gnS25; INO. 131.) ~ At the Museum of Fine Arts, Boston, 1919. 
| Zllustrated | 


593 


-( 388 )- 
HEAD OF AN UNKNOWN CHILD 


Canvas, 1778 x15 inches. An unfinished sketchy head of a chubby-faced child 
of about two years of age, with rosy cheeks, dark brown eyes to spectator, and light 
brown hair. The work is loosely laid in and probably represents but one sitting. It 
is a charming picture of an attractive looking child, and very important as showing 
Stuart’s methods. The head is nearly full front but turned slightly towards the 
child’s right. In a letter dated June 6, 1917, from Mr. Charles Pelham Curtis to 
the writer on the subject of this portrait, it is stated: “It is supposed to have been cut 
out of another larger Stuart picture, but I have never known whose portrait it is nor 
from what picture it was cut out.” 

This picture was in the possession of, and perhaps was bought by, Thomas 
Handasyd Perkins (q.v.) of Boston. He gave it to his granddaughter, the wife of 
Charles Pelham Curtis of Boston. At her death it passed to the present owner, 
Charles Pelham Curtis, Esq., of Boston. 


EXHIBITED at Copley Hall, Boston, March place in 1901 at a “Loan Exhibition of 
II-31, 1898, at a “Loan Collection of Pictures of Children.” 
Portraits of Women,” and also at the same 


| Illustrated | 


C389 ): 


JOSEPH HEAD 
1755-1828 


PROMINENT Boston merchant. 


Boston, c. 1815. Panel, 3212x261 inches. Shown seated ina gilded armchair 
upholstered in red velvet, turned slightly to the left, with head nearly front - 
and brown eyes directed to the spectator. His short, unkempt hair is iron gray, his 
eyebrows are heavy and dark and his complexion is very ruddy. He wears a black 
coat and a white neckcloth tied in a bow. His left arm is held close to his body 
inside the arm of the chair, and his hand, holding a partially opened letter, rests 


394 


JOSEPH HEAD 


upon the edge of a table which is covered with a red cloth and on which lie other 
opened letters. The warm-toned background is plain. 

This portrait was handed down to his grandson, J. Morgan Rhees, who gave it 
to the old Rembrandt Association in cancellation of a debt. In 1918 and 19149 it 
was owned by George H. Story, who bequeathed it, in 1921, to the National 
Gallery of Art in Washington, District of Columbia. 


ExuIBITED at the exhibition of Stuart’s portraits, Boston, 1828, No. 134. 


[ Zllustrated | 


390) 
JOHN HEARD 


1744-1834 
SON of Daniel and Mary (Dane) Heard of Ipswich, Massachusetts. 
He married, first, in 1766, Elizabeth Anna Story (1745-1775) of 
Boston, and, secondly, in 1777, Sally Staniford. He was at one time a 
member of the Massachusetts Senate. 


Boston, c. 1810. Canvas, 29 x 24 inches. He is shown bust, half-way to the right, 
with his bright blue eyes directed at the spectator. His hair is gray and his com- 
plexion is fair, with a good deal of color. He wears a black coat, buttoned, a white 
standing collar, white stock and frill. The background is a very dark brown, with 
an almost invisible green panel. 

The portrait was inherited by his son, George Washington Heard (1793-1863), 
then by his son, John Heard (1824-1894) of Ipswich, and then by his son, John 
Heard, Esq., of Ipswich. In September of 1925 it was acquired by Joseph Grafton 
Minot, Esq., of Boston, the husband of a great-granddaughter of John Heard. 


ExuisiTep, Museum of Fine Arts, Boston, was exhibited at the Jamestown Exposi- 
1924 and 1925. tion in 1907. 

A copy, made by Miss Alice Heard of Ips- Not listed in Mason. 
wich, Massachusetts, is owned by her, and Listed in Fielding. 


[ Zllustrated | 


395 


( 391 »)s 
JAMES HEATH 
1757-1834 


N 1780 James Heath, the well-known engraver, the son of a Staf- 

fordshire farmer, exhibited some of his works at the “Society of 
Artists”; in 1791 he was elected an Associate-engraver of the Royal 
Academy. In 1794 he was appointed historical engraver to George HI 
and continued in that position under successive sovereigns until his 
death. In 1802 he published, on his own account, a series of illustrations 
from Shakespeare. His portrait was painted in England by Stuart for 
John Boydell’s Gallery. 


London, c.1785. Oval on rectangular canvas, 30x25 inches. He is shown 
bust, half-way to the left, with his dark brown eyes directed to the spectator. 
He wears a gray coat with gilt buttons; a white lawn waistcoat consisting chiefly of 
large lace-edged revers, a white neckcloth and ruffled shirt. The background shows 
gray clouds on a dark blue sky. 

His portrait was owned as early as 1881 by Samuel P. Avery of Hartford, 
Connecticut, by whom it was bequeathed to the Wadsworth Atheneum, Hartford. 


ExHIBITED— At the Wadsworth Atheneum, Hartford, 
At the Boydell Gallery, London, in 1789. Connecticut, in 1915. 
At the Metropolitan Museum of Art, New Not listed in Mason. 
York, 1881. Listed in Fielding, No. 66. 
[ Zllustrated | 


( 392 )s 
GEORGE HEATHCOTE 
1745-1789 
E was the third son of Sir Thomas Heathcote, second Baronet, by 


his wife Elizabeth Hinton. He married Mary Woodger in 1785, 
and died without issue. 


396 


GEORGE HEATHCOTE 


London, c.1785. Canvas, 36x28 inches. He is shown half-length, three- 
quarters left, seated in an armchair with a dark red wooden frame upholstered in 
lighter red, with his dark blue eyes directed to the spectator. His complexion is 
florid, and his hair is white. He wears a white neckcloth and flowing shirt frills, 
white waistcoat, white ruffles at the wrists, and a greenish-blue coat with high 
collar. His right hand is partially closed, resting on his leg, and his left hand lies on 
the end of the chair arm. The plain background is of neutral gray tones. 

The portrait was bought at auction in London in 1921 or 1922, at the sale of 
Morton Browne of Lace Holme, near Chester, England, and was sold in 1924 by 
the John Levy Galleries, New York, to Henry H. Wehrhane, Esq., of Llewellyn 
Park, New Jersey. 


Not listed by Mason. Courtesy of Mr. John Levy, New York City. 
[ Zllustrated | 


C393 ): 


JOHN HENDERSON 
1747-1785 
HE well-known English actor, who made his début in Bath, 
1772, as Hamlet. In 1777 he was acting at the Haymarket, 
London, and for the two following years was with Sheridan at the Drury 
Lane Theatre, making himself famous as Shylock and Falstaff. He was 
engaged at Covent Garden from 1779 until his death, and among the 
artists who painted him were Stuart, Gainsborough and Romney. He is 


buried in Westminster Abbey. 


London, c. 1780-85. Canvas, 2034 x 16% inches. A sketch, showing Hender- 
son in the part of “Iago.” Head and shoulders only. Fleshy face, brown eyes and 
gray hair. Turned three-quarters to the right. 

This portrait was owned at one time by Charles Mathews, the comedian. It is 
now in the Dyce Collection at the Victoria and Albert Museum, London. 


ENGRAVED, in stipple, by Bartolozzi, 1786. Not listed in Mason. 
Oval, 4% x 334 inches. Listed in Fielding, No. 67. 
LirHocRAPHED after the Bartolozzi en- 
graving. [ Zllustrated | 


397 


C394 ): 


JOHN HENDERSON 
1747-1785 


London, c.1780. Oval canvas, 378x3 inches. A miniature in oil. Three- 
quarters to the right, head and shoulders. He wears a dark gray wig with queue 
bow showing. His face is rather fleshy with a high forehead, large mouth, and 
fresh complexion. His brown eyes are directed to the spectator. He wears a blue 
coat with brass buttons and a white neckcloth and shirt ruffle. The background is a 
light brown tone. 

On the reverse side of the medallion appears the following inscription in Stuart’s 
handwriting: 

“John Henderson || born in Goldsmith Str. || London, March 8, 1747. || died 
Nov. 25, 1785. || buried in Westm. Abby || Gilb‘. Stuart, pinx.” 

In 1915 the portrait was owned by Francis Wellesley, Esq., of Westfield 
Common, near Woking, England, who had bought it in 1913 from a London 
dealer. Its previous history is not known. In July, 1920, it was sold at auction by 
Sotheby, Wilkinson & Hodge, in London. ~ 


ENGRAVED, in line and stipple, by J. Coyte, Repropucep in The Connoisseur, June, 
1787, 334 x 3% inches. 1918, Vol. LI, No. 202, page 69. 
Not listed in Mason. 
[ Zllustrated | 


AGie beJs))9)) 


MRS. BERNARD HENRY 
1789-1876 


ARY MILLER JACKSON was the daughter of Doctor David 
M and Susan (Kemper) Jackson of Chester County, Pennsylvania. 
She married Bernard Henry of Philadelphia. Washington Irving, in a 
letter to Henry Brevoort, from Philadelphia, March 16, 1811, had the 


398 


following to say about her: “I was out visiting with Ann Hoffman (Mrs. 
Charles Nicholas) yesterday, and met that little assemblage of smiles and 
fascination, Mary Jackson. She was bounding with youth, health, and 
innocence and good humor. She had a pretty straw hat tied under her 
chin with a pink ribbon, and looked like some little woodland nymph 
lured out by Spring and fine weather. God bless her light heart, and 
grant that it may never know care or sorrow! it’s enough to cure spleen 
and melancholy only to look at her.” 

Boston, c. 1806. Panel, 52x54 inches. Nearly full face, turned to the left 
and looking over the shoulder, showing her at the age of about sixteen or seventeen. 
This evidently is the piece of panel Stuart cut out of the larger picture of “Mrs. 


Isaac P. Davis and Mrs. Bernard Henry,” now owned by the Estate of Mrs. 


Gordon Prince of Boston. 
It was inherited by her son, Morton P. Henry, and is now in the possession of 


W. Barklie Henry, FEsq., of Philadelphia. 


‘C396 ): 


MRS. BERNARD HENRY 
1789-1876 
Canvas, 29 x24 inches. Half-length, facing right, as in motion. 
Owned in 1887 by her son, Morton P. Henry. 


Exuisitep at “Loan Exhibition of Histor- (This may refer to the previously men- 


ical Portraits,” December 1, 1887, to Jan- tioned picture. ) 
vary 15, 1888, held at the Pennsylvania Not listed in Mason. 
Academy of the Fine Arts, Philadelphia. 


a7 


(eee Vio 


ZACHARIAH HICKS 
Lis Se bode 

ACHARIAH HICKS was born in Cambridge, Massachusetts, 

and was the third son of John Hicks (1725-1775), the Revolu- 
tionary patriot, and Elizabeth (Nutting) Hicks. He served a regular 
apprenticeship to the trade of saddler with Thomas Patten of Water- 
town. At the age of twenty-one he came to Boston and started in busi- 
ness, which he continued until he reached his eightieth year. He was 
one of the marshals of the grand civic procession which escorted George 
Washington into Boston in 1789. He was at one time an officer in the 
Ancient and Honorable Artillery Company, and was twice elected to 
the House of Representatives. He volunteered his services in the Revo- 
lutionary War and was stationed at Newport, Rhode Island. He was one 
of the bodyguard of General Heath when he had his headquarters in 
Boston. Also one of the original members of the Massachusetts Chari- 
table Mechanic Association. In 1779 he married Mary Coolidge (1758- 
1826), a sister of Joseph Coolidge (q.v.), and had fourteen children, 
seven of whom were living at the time of his death at the age of eighty- 
seven. 


Boston, c. 1825. Canvas, 292 x25 inches. Bust portrait, seated, turned slightly 
to the left, with his brown eyes directed to the spectator. Red velvet or brocaded 
chair studded with brass-headed nails. His complexion is ruddy and he has a 
cheerful, benign expression. His white hair is tied in a queue bow. He wears a 
black coat, a white neckcloth and cambric jabot. The plain background is very 
dark. 

This portrait was presented in 1925 to the Boston Museum of Fine Arts by Miss 
Anna Gower Endicott of Salem, Massachusetts, a great-granddaughter of the 
subject, with the proviso that it remain in her possession during her lifetime. 


REPRODUCED, in half-tone, in Bulletin of A copy, probably by Jane Stuart, is owned 
the Museum of Fine Arts, Boston, June, by the Misses Hicks of Milton, Massa- 
1925, page 30. chusetts. 

Not listed in Mason. 


400 


C398 ): 


STEPHEN HIGGINSON 
1743-1828 


A SON of Stephen and Elizabeth (Cabot) Higginson of Salem, Mas- 

sachusetts. He married, first, in 1763, Susan Cleveland (1741- 
1788); second, in 1789, Elizabeth Perkins (1747-1797); and, third, 
Sarah Perkins (1752-1826). His second and third wives were sisters. 
He was a delegate to Continental Congress, 1782-83; Navy agent at 
Boston, 1797-1801; one of Governor Bowdoin’s most active advisers in 
the suppression of Shay’s rebellion in 1786. A firm Federalist and strong 
supporter of the administrations of Washington and Adams. He lost a 
large part of his fortune in the War of 1812. The essays signed “‘Laco,” 
attacking John Hancock, are generally attributed to him. 

Boston, c. 1815-1818. A half-length portrait, showing him seated in an arm- 
chair, and turned slightly to the left, with his eyes directed to the spectator. His 
left arm rests on the arm of the chair, while his right hand does not show. He 
wears a powdered wig, parted in the middle and tied in a queue bow, a high- 
collared dark coat and waistcoat, a white neckcloth. Plain background, with 
curtain at the right. 

His portrait was inherited by his son George (1779-1812) of Boston and then 
by his son George (1804-1889) of Boston, who left it to his son George (183 3- 


1901) of Stockbridge, Massachusetts, who bequeathed it to his son, George Hig- 
ginson, Esq., of Winnetka, Illinois, and Lenox, Massachusetts, the present owner. 


Exuisirepat the exhibition of Stuart’s por- pers Magazine, 1886, Vol. 73, page 614. 
traits, Boston, 1828, No. 87. A copy, by Gilbert Stuart Newton, is in the 
ENGRAVED, on wood (bust only), for Har- Massachusetts Historical Society, Boston. 


401 


C399 ) 


ANNE OUTRAM HINCKLEY 


1794-1882 


HE daughter of David Hinckley (q.v.) and his first wife Anne 
Outram. She married in Boston, in 1826, William Gill Hodgkin- 
son (1804-1871) of Kelton, Nottinghamshire, England. 

Boston, c. 1812. Panel, c. 28x22 inches. A bust portrait, showing her turned 
half-way to the left, with her large dark eyes directed at the spectator. Her auburn 
hair is drawn smoothly over the top of her head, fashioned in a knot at the back 
and worn in ringlets over her forehead and temples. She wears a dark dress, cut 
square at the neck and edged with braid. Around her neck is a necklace of what 
appear to be jet beads. A plain tonal background. 

After her marriage, Mrs. Hodgkinson took her portrait to England and it was 
inherited by her son, David Hinckley Hodgkinson (1828-1916). The latter, 
being a bachelor, bequeathed it to his nephew, William Hodgkinson, Esq., of 
Moccasin Lodge, Framingham, Massachusetts, the present owner. 


[ Illustrated | 


( 400 )s 


DAVID HINCKLEY 
1764-1825 - 


AVID HINCKLEY was the son of Samuel and Abigail (Welch) 
Hinckley of Brookfield, Massachusetts. He married, first, in 
London in 1793, Anne Outram (1771-1794). After his marriage he 
came to America and on his return was captured by pirates who detained 
him two years in Algiers, and upon reaching England after his release, 


402 


DAVID HINCKLEY 


he discovered that his wife had died at his daughter’s birth. He married, 
second, in 1807, Sally Outram (d. 1812), a cousin of his first wife. After 
his second marriage he returned from England to Boston and built, at 
the corner of Beacon and Somerset Streets, what was considered the 
finest private house in the town. 

Boston, c.1810. Panel, 28x22 inches. A bust portrait, showing him turned 
slightly to the right, with his eyes directed at the spectator. His rather disheveled 
hair is brushed from both sides to the top of his head. He is dressed in a high- 
collared black coat, white standing collar, white neckcloth tied in a bow and shirt 
frills. A plain background in shaded tones of a neutral color. 

His portrait was inherited by his daughter, Anne Outram Hinckley (1794- 
1882) (q.v.), who married an Englishman, William Gill Hodgkinson (1804— 
1871) of Kelton, near Worksop, Nottinghamshire, and Brampton Grange, Hinck- 
leydon, England. At her death it passed to her daughter, Anne Outram Hodgkin- 


son (1831-1905), who married Edward Bangs of Boston, and at her death it was 
inherited by her son, Francis Reginald Bangs, Esq., of Boston. 


[Z Hustrated| 


( AOI )< 


JOSIAH OGDEN HOFFMAN 
1766-1837 


SON of Nicholas and Sarah (Ogden) Hoffman of Newark, New 
Jersey. He was admitted to the bar in 1786; attorney-general of 

New York in 1795; Recorder of New York City in 1810; at the time of 
his death, in New York City, he was First Associate Judge of the Su- 
preme Court of New York. He married, first, in 1789, Mary Colden 
(1770-1797); and, second, in 1802, Maria Fenno, by whom he had 


403 


JOSIAH OGDEN HOFFMAN 


three children. His daughter Matilda was engaged to be married to 
Washington Irving, but she died before they were married. 


The portrait was owned in 1880 by the widow of Ogden Hoffman of New York 
City. 


*( 402 ) 


JOHN HOLKER 
Died 1820 


E was of English descent, and was “Inspector General of Com- 

merce and Manufacture in France,” and came to America about 

1787 as Consul-General of France in the United States, at the same time 

being Agent General of the Royal Marines. He married as his second 

wife, at Boston in 1815, Nancy Davis (Stackpole) (q.v.), widow of John 

Morgan Stillman of Boston, and settled at Long Branch, near Millwood, 
Clarke County, Virginia, where he died. 


Boston, c. 1817. Panel (s), 2538x21 inches. He is shown bust, three-quarters 
right, with his blue eyes directed to the spectator. His face is fleshy with a ruddy 
complexion; his hair, short and curly, is powdered. His high-collared coat is black, 
with brass buttons, and he wears a white neckcloth with a white standing collar, a 
small white tie and white frills with the edge of his white waistcoat lapel showing 
above the lapels of his coat. The background is plain, and of dark-greenish tones, 
and his hands do not show. 

His portrait passed to his widow, and at her death in 1857 was inherited by their 
only child, Anne Maria Adelaide Holker (1816-1875), wife of Hugh Mortimer 
Nelson (1811-1862) of Long Branch, and then by her son Hugh Mortimer 
Nelson (1847-1915) of Long Branch, and at his death by his widow. 


Exursitepat the exhibition of Stuart’s por- Courtesy, Frick Art Reference Library, New 
traits, Boston, 1828, No. 200. York City. 
[ Zllustrated | 


404 


( 403 )s 
MRS. JOHN HOLKER 


1777-1857 
HE was Nancy Davis Stackpole, daughter of William and Ann 
(Jackson) (Parker) Stackpole of Boston. She wasa sister of William 
Stackpole (q.v.) and of Mrs. Francis Welch (q.v.). She married, first, in 
1795, John Morgan Stillman of Boston, and second, in 1815, John 
Holker (q.v.), and lived after 1820 at Long Branch, near Millwood, 
Clarke County, Virginia, where she died. 


Boston, c. 1817. Panel (s), 2538x207 inches. Mrs. Holker is shown bust, 
three-quarters left, with her light blue eyes directed to the spectator. Her dark 
brown hair is in curls on top of her head near her forehead, with small curls on the 
forehead, temples, and in front of her ears. In her ears are pink topaz earrings sur- 
rounded by pearls, with drops of the same kind of stones. She wears a square low- 
neck Empire gown of white satin, with narrow box-pleated ruffles of the same at 
the neckline, and on the short puffed sleeves. Over her right shoulder and in back 
of her left arm is a red cashmere shawl. The plain background is of dark brownish- 
green tones. 

Owned by Mrs. Hugh Mortimer Nelson, of Long Branch, Virginia, the his- 
tory of this picture is the same as that of Stuart’s portrait of John Holker. 


Exuisirepat the exhibition of Stuart’s por- Courtesy, Frick Art Reference Library, New 
traits, Boston, 1828, No. 201. York City. 
[ ZJlustrated | 


"C404 ): 
REVEREND HORACE HOLLEY 
1781-1827 


E was a son of Luther and Sarah (Dakin) Holley of Salisbury,Con- 
necticut. He was graduated at Yale College in 1803, and studied 
divinity in New Haven. From 1809 until 1818 he was minister of the 


405 


REVEREND HORACE HOLLEY 


Hollis Street (Unitarian) Church, Boston. From 1818 to 1827 he was 
president of the Transylvania College, at Lexington, Kentucky. He died 
of yellow fever on his passage from New Orleans to New York. He 
married Mary Austin of New Haven, who died in New Orleans in 
1846. His portrait was painted for James Barker(1786-1854) of Boston, 
one of his parishioners, and it was finished on the day on which Holley 
left Boston to assume his new work in Kentucky. Stuart was so much 
pleased with the portrait that he is said to have exclaimed to Mr. Barker: 
“T never want to paint him again. ‘This is the only picture I ever painted 
that I have no desire to alter. Iam entirely satisfied with it.” 

Boston, 1818. Panel, 30x25 inches. This portrait shows him at half-length, 
seated, three-quarters left, with eyes to the spectator, wearing his ministerial black 
silk gown with white linen bands. His left hand resting ona table,in front of which 
he is seated, holds a book, in the pages of which his index finger is thrust. In the 
background appear two pilasters. (Description from the engraving by T. Kelly.) 

At Mr. Barker’s death, or soon after, it was apparently acquired by Moses Wight 
(1827-1895), an artist of Boston. It was possibly destroyed in the Boston fire of 


November, 1872, when Wight’s studio was burned. I can find no reference to it 
after its last exhibition at the Boston Athenzum in 1867. 


EXxHIBITED— Character of the Reverend Horace Hol- 

At the Boston Athenzum, in 1829, by ley,” published in 1828. 4.1 x 3.5 inches. 
James Barker of Boston. (Stauffer, 1606.) 

At the Boston Atheneum, in 1860, 1864, LirHocGRAPHED by Pendleton. “G. Stuart 
1866, 1867, by Moses Wight. Pinxt. Pendleton’s Lithography, Boston, 

ENGRAVED, in stipple, by T. Kelly, as fron- R. Peale, Del. The Rev. Horace Holley, 
tispiece to ““A Discourse on the Genius and BLD 2 


406 


"C405 ) 
JOSEPH GEORGE HOLMAN 
1704-1817 


OSEPH GEORGE HOLMAN made his first appearance as Hamlet 
with a Thespian Society. His début took place at the Covent Garden 
Theatre in 1784 as Romeo. In 1798 he married Jane (died 1810), 
daughter of the Honorable and Reverend Frederick Hamilton. He 
came to the United States in 1812 and appeared at the Park Theatre, 
New York City, and at the Chestnut Street Theatre, Philadelphia, in the 
part of Lord Townley in the “Provoked Husband.” He died of apo- 
plexy at Rockaway, Long Island, New York, having, two days before, 
married Miss Lattimer, an English actress, who died in 1859. 
Painted in Dublin. 
Owned by the Garrick Club, Covent Garden, London. 


Not listed in Mason. 
Listed in Strickland, who says: “Painted in America.” 


(400 ): 
JOHN WILLET HOOD 


EAR ADMIRAL of the Red; Vice Admiral of the Coasts of 
Devonshire and Cornwall; Lord Warden of the Stanneries. 


London, 1775-1788. Canvas, 30x24 inches. “The Admiral is portrayed in 
a rich dark blue coat with brown revers and buttons of dull gold, its scarlet-lined 
collar turned outward and bent down upon the shoulder. He wears a white stock 
and gracefully arranged 7abot, and a small gray-white wig. He faces the left 
(spectator’s left), nearly three-quarters to the front, with fixed, steady gaze ahead. 
His eyes are blue and his cheeks rosy, and the flesh tones throughout are in the 


407 


JOHN WILLET HOOD 


crisp, fresh rendering characteristic of the painter. With the light concentrated on 
the head and dimming as it falls upon the figure, the subject is seen against a 
neutral background of olive tones shading into brown.” (Catalogue of the Amer- 
ican Art Association Sale, January 21, 1915.) 

This portrait belonged to F. A. H. Hood of g Dorset Square, London, at whose 
death it passed to his son, G. F. W. Hood of Fern Bank, Etterby, Carlisle, England, 
who, in December, 1914, sent it, with other pictures in the collection, to New 
York to be sold at auction by the American Art Association. ‘The sale was held _ 
January 21, 1915, this picture being purchased by James Warren Lane. At the 
Lane sale (American Art Association), November 21, 1924, it was bought by 
Louis Bamberger, Esq., of Newark, New Jersey. 


Not listed in Mason. Listed in Fielding. 


"C407 ): 
ROBERT HOOPER 


E was of Marblehead, Massachusetts, and married Mary (q.v.), 
daughter of Mrs. C.S. Williams. 


According to Mason, Stuart painted this portrait from a small water-color 
drawing. 
Owned in 1880 by his grandson, Robert Hooper. 


( 408 ) 
MRS. ROBERT HOOPER 


ARY, daughter of Mrs. C. S. Williams. She married, first, Robert 
Hooper (q.v.) of Marblehead, Massachusetts; and, second, 
Doctor R. G. Robbins. The portraits of Mr. and Mrs. Hooper, with por- 


408 


MRS. ROBERT HOOPER 


traits of Mrs. Mary Sumner Williams, John Williams, her son, and Miss 
Sally Patten, were all painted for her, and when she became Mrs. R. G. 
Robbins she bought the house in which Stuart had lived for many years, 
on the corner of Shaw Avenue and Washington Street, Roxbury. These, 
with other portraits, hung on the walls of the long hall that led to the 
studio in which Stuart portraits were painted. (Mason, pages 200-201.) 


Owned in 1880 by her son-in-law, Reverend Chandler Robbins, of Boston. 


C409 ) 
JOSEPH HOPKINSON 


1770-1842 

SON of Francis and Ann (Borden) Hopkinson of Philadelphia. He 
was graduated from the University of Pennsylvania in 1786; 
Judge of the United States District Court from 1828 to 1842; second 
President of the Pennsylvania Academy of the Fine Arts from 1813 to 
1842; author of “Hail Columbia,” in 1798; he was also a prominent 
lawyer and Vice-President of the American Philosophical Society. He 

married in 1794, Emily Mifflin (q.v.) of Philadelphia. 

Philadelphia, 1803. Panel, 29x24 inches. He is seated three-quarters right, 
in a chair upholstered in brownish-red, with his brown eyes directed to the spec- 
tator. His powdered hair is tied with a black queue bow, and he wears a black coat, 
high-collared and partially unbuttoned, a white neckcloth and ruffled shirt. With 
both hands he holds some loose papers lying on the table at which he is sitting, and 
in his right hand, between his thumb and index finger, is a quill pen. The two 
books, standing upright on the table, are bound in leather, and one has a red title 


space. The background is plain and of dark, warm tones. 
At Judge Joseph Hopkinson’s death, his portrait became the property of his 


409 


JOSEPH HOPKINSON 


wife, who bequeathed it, together with her own portrait by Stuart, to their daugh- 
ter, Mrs. Elizabeth B. Biddle. Upon her death, September 20, 1891, her brother, 
Oliver Hopkinson, deposited them with the Historical Society of Pennsylvania in 
perpetual care, in accordance with her expressed wish. 


EXHIBITED at the “Loan Exhibition of His- ENGRAVED, on wood, for Scribner’s Maga- 
torical Portraits,” held at the Pennsylva- zine, 1880, Vol. XXI, page 41. 
nia Academy of the Fine Arts, Philadel- 
phia, from December 1, 1887, to January LirHocraPHeEp by Albert Newsam. 
15, 1888, by Mrs. William Biddle. C. S. Bradford, photo., copyright. 
[ Zllustrated | 


( AIO )s 
MRS. JOSEPH HOPKINSON 
177 33b050 
MILY, daughter of Governor Thomas Mifflin (q.v.) of Phila- 


delphia. In 1794 she married Joseph Hopkinson (q.v.), by whom 
she had six children. 


Philadelphia, 1803. Panel, 29x24 inches. She is shown to below her waist, 
seated, three-quarters left, ina chair upholstered in red, with her blue eyes directed 
to the spectator. Her hair is reddish-brown, and her complexion brilliant. She 
wears a white dress trimmed with white lace, a mauve shawl, and gold hooped 
earrings. On a sheet of paper showing at the lower left corner appears a profile 
sketch of the artist, which she has evidently just drawn with the porte-crayon 
which she holds in her hand. The background is plain and of dark warm tones. The 
portrait is dated on the back “1803.” 

This portrait is deposited with the Historical Society of Pennsylvania; its 
history is the same as that of the Stuart portrait of Judge Joseph Hopkinson. 


ExHIBITED at the Loan Exhibition of His- produced in Scribner's Magazine, 1880, 
torical Portraits, held at the Pennsylvania Vol. XXI, page 42. 
Academy of the Fine Arts, Philadelphia, 
from December 1, 1887, to January 15, REPRODUCED, in half-tone, in Scribner’s 
1888; lent by Mrs. William Biddle. Magazine, November, 1922, page 639. 
ENGRAVED, on wood, by Closson, and re- C. S. Bradford, photo., copyright. 
[ llustrated | 


410 


( ALI )s 


CHANCELLOR 
SIR BEAUMONT HOTHAM 


1737-1814 


EAUMONT HOTHAM was the fourth son of Sir Beaumont and 
B Lady Frances (Thompson) Hotham. He graduated from Trinity 
College, Cambridge, and was called to the bar in 1758. In 1767 he 
married Susanna, daughter of Sir Thomas Hankey and widow of James 
Norman, M.P. for Wigan. In 1775 he was appointed Baron of the 
Exchequer; Lord Commissioner of the Great Seal in 1783. He suc- 
ceeded his brother William as second Baron and twelfth Baronet in 
1813. 

London, 1785. Canvas, 30x25 inches. Bust portrait, turned half-way to the 
right. He is shown in his judge’s robes of scarlet with ermine cape and cambric 
neck-bands. He wears a long gray wig and his gray eyes, with strongly marked 


eyebrows, are directed to the spectator. The plain background is dark gray. 
Inscription on the back of the canvas: 
“SIR BEAUMONT HOTHAM. KNIGHT. A.D. 1785 
“AETATIS SUA 47. Appointed Baron of the Exchequer 
May 17th 1775 
“Tord Commissioner of the Great Seal April gth 1783” 


Owned by Lord Hotham, Dalton Hall, Dalton Holme, Beverley, Yorkshire, 
England. 


Turner & Drinkwater, Hull, England, pho- Courtesy, Frick Art Reference Library, New 
tographers. York City. 


[ Zllustrated | 


(412 


GENERAL GEORGE HOTHAM 
1741-1806 


Ga HOTHAM was the fifth son of Sir Beaumont and Lady 
Frances (Thompson) Hotham. He married Diana, daughter of 
Sir Warton Pennyman. He served as Sub-Governor to the Prince of 
Wales (later George IV), as Aide-de-Camp to the King, and later was 
promoted to General. 

London, 1786. Canvas, 30x25 inches. Bust portrait, turned half-way to the 
right. He is shown in the uniform of Colonel of the Grenadier Guards; a scarlet 
coat with black and gold braid facings. His complexion is florid, his hair powdered 


and his blue eyes are directed to the spectator. A dark plain background. 
Inscription on the back of the canvas: 


“Colonel GEORGE HOTHAM 
“ATDE-DE-CAMP TO THE KING. 1786” 


Owned by Lord Hotham, Dalton Hall, Dalton Holme, Beverley, Yorkshire, 
England. 


REPRODUCED, in half-tone, oval, in “The Turner & Drinkwater, Hull, England, pho- 
Hothams,” by A. M. W. Stirling, London, tographers. 
1918, Vol. II, facing page 144. Courtesy, Frick Art Reference Library, New 
York City. 
[Zllustrated | 


"C413 ): 
DOCTOR JOHN HOTHAM 
173571795 
OHN HOTHAM, ninth Baronet, was the second son of Sir Beau- 


mont and Lady Frances (Thompson) Hotham. He was graduated 
from Trinity College, Cambridge, and married in 1765 Susanna Mack- 


412 


DOCTOR JOHN HOTHAM 


worth. He was appointed chaplain to George III and chaplain to the 
Viceroy of Ireland. In 1779 he became the Bishop of Dromore and of 
Ossory; in 1782 the Lord Bishop of Clogher. He succeeded his brother 
in 1794 as ninth Baronet. 


London, 1785. Canvas, 30x25 inches. Bust portrait, turned half-way to the 
left, dressed in his Bishop’s robes with black bands and white muslin neck bands, 
and a gray wig. His greenish-gray eyes are directed to the spectator. His com- 
plexion is fresh. The plain background isa dark greenish-gray. 

Inscription on the back of canvas: 

“DOCTOR JOHN HOTHAM 
LORD BISHOP OF CLOGHER. 1785” 


Owned by Lord Hotham, Dalton Hall, Dalton Holme, Beverley, Yorkshire, 
England. 


REPRODUCED, in half-tone, oval, in “The Turner & Drinkwater, Hull, England, pho- 


Hothams,” by A. M. W. Stirling, London, tographers. 
1918, Vol. II, facing page 264. Courtesy, Frick Art Reference Library, New 
York City. 


[ Zllustrated | 


C414 ): 
ADMIRAL WILLIAM HOTHAM 
17360-1813 


, ILLIAM HOTHAM was the third son of the seventh Baronet, 
Sir Beaumont and Lady Frances (Thompson) Hotham. He suc- 
ceeded his nephew as eleventh Baronet and was created first Baron 
Hotham. He served under Lord Howe as Commodore in the American 
Revolution; was promoted to Admiral and became Commander-in- 
Chief of the Mediterranean Fleet. 


London, 1783. Canvas, 30x25 inches. A bust portrait; turned slightly to the 
left; his gray eyes, with strongly marked dark eyebrows, are directed to the spec- 


413 


ADMIRAL WILLIAM HOTHAM 


tator. His complexion is florid and his hair powdered. He wears a commodore’s 
naval uniform of blue velvet with gold braid, a neckcloth and ruffles of white 
cambric. The background is dark gray with cloud effects. 

Inscription on the back of canvas: 

“WILLIAM HOTHAM Esq 
COMMODORE & COLONEL OF MARINES 1783” 

Owned by Lord Hotham, Dalton Hall, Dalton Holme, Beverley, Yorkshire, 
England. 
Turner & Drinkwater, Hull, England, pho- Courtesy, Frick Art Reference Library, New 

tographers. York City. 
[ Zllustrated | 


"C415 ): 
DOCTOR JOHN CLARKE HOWARD 


1773-1810 


A SON of Reverend Simeon (1733-1804) and Elizabeth (Clarke) 
(Mayhew) Howard. In 1800 he married Hepzibah Clark Swan 


(q.v.). 

Boston, 1810. Panel (s), 272x22'% inches. The portrait shows him bust, 
three-quarters right, with his blue eyes directed to the spectator. He has very dark 
brown, wavy hair and reddish-brown sidewhiskers, heavy eyebrows, thin face and 
long nose. He wears a buttoned high-collared black coat, white neckcloth and 
frilled shirt. The plain background is very dark and of warm tone. 

The portrait was inherited by his son, John Clarke Howard of Boston, who 
bequeathed it to his daughter Sarah, wife of Arthur Pickering of Boston, at whose 
death, in 1907, it became the property of their daughter, Miss Susan Howard 
Pickering of Boston. 


ExHIBITED— Nore: According to Mason, this portrait 
At the exhibition of Stuart’s portraits, Bos- was painted after Doctor Howard’s death. 
ton, 1828, No. 138. Mrs. Howard paid Stuart two hundred 
At the Museum of Fine Arts, Boston, 1893 dollars on February 2, 1811, for painting 
to 1895. the “portrait of Dr. Howard.” 
[ Zllustrated | 


414 


( A416 )s 
MRS. JOHN CLARKE HOWARD 
1777-1833 
HE was Hepzibah Clark Swan, daughter of James (q.v.) and Hep- 


zibah (Clark) Swan (q.v.) of Boston. She married in 1800 in 
Boston Doctor John Clarke Howard (q.v.). 


Boston, c.1812. Panel (s), 2832x23% inches. She is shown to below her 
waist, three-quarters left, with her dark blue eyes directed to the spectator. Her 
complexion is fresh and her expression pleasant. Her light yellowish-brown curly 
hair, done high on top of her head, is parted with ringlets on her forehead and in 
front of her ears. She wears a low-cut, square-necked, high-waisted white dress, 
with a brilliant rich brownish-red shawl falling over her left shoulder, and a bit of 
it appearing at her right side below the waist. Her head is placed against a very 
dark red curtain which covers the upper portion of the picture and extends to the 
lower right-hand corner. At the left is a plain background of olive-browns and 
greens. Neither her hands nor her arms are shown. 

Her portrait was owned in 1880 by her daughter Elizabeth, wife of Reverend 
Cyrus Augustus Bartol of Boston, from whom it was inherited by her daughter, 
Miss Elizabeth H. Bartol of Boston. 


ExHIBITED— 

At the exhibition of Stuart’s portraits, Bos- At Copley Hall, Boston, at “Loan Collec- 
ton, 1828, No. 192. tion of Portraits of Women,” from 

At the Museum of Fine Arts, Boston, in March 11 to 31, 1895, loaned by Miss 
1880. Elizabeth H. Bartol. 


[ Zdlustrated | 


C417 ): 
CHRISTOPHER HUGHES 
1786-1849 


E was a son of Christopher and Margaret (Sanderson) Hughes of 
Baltimore, was graduated at the College of New Jersey in 1805, 
and married in 1811 Laura Sophia, daughter of General Samuel 


AIS 


CHRISTOPHER HUGHES 


Smith (q.v.) of Baltimore. He was commissioned Secretary to the United 
States Legation at London in February, 1814; he returned to America 
in 1815 and was the bearer of the treaty of Ghent; in September, 1816, 
he was transferred to Stockholm, and from 1818 had sole charge of the 
embassy; in 1819 he was commissioned chargé d’affaires to the Nether- 
lands; in March, 1830, he was returned to Stockholm as chargé d’af- 
faires, and held this position until September, 1841; in 1841 he was re- 
commissioned at Stockholm, and returned to the United States in 1845. 
His portrait was also painted in London by Sir Martin Archer Shea. He 
was a very popular man, and well-known for wit and humor. 


Boston, 1816. Panel, 2734 x 22 inches. He is shown bust, three-quarters right, 
his head nearly front, with his hazel eyes, with suggestions of blue, directed to the 
spectator. He has curly auburn hair and a ruddy complexion, and wears a white 
standing collar, white neckcloth and shirt frills, and a claret-colored velvet coat 
with a brown sable fur collar. The background is of neutral tones. 

Mr. Hughes, in a letter written from Baltimore to Harrison Gray Otis (1767— 
1848) of Boston under date of December 21, 1825, says: “. . . (Perhaps he 
may remember me) for he made my portrait in 1816 and he treated me with the 
most distinguished kindness.” (Otis MSS., Massachusetts Historical Society. )The 
portrait was bequeathed by Christopher Hughes, the younger, to his daughter, 
Mrs. Kennedy, and she, being without children, bequeathed it to her first cousin, 
George R. H. Hughes, who was the nephew of Christopher Hughes. In 1915, 
Mr. Hughes, a bachelor, died and bequeathed it to Richard H. Pleasants, Esq., 
his cousin, of Baltimore, Maryland. It was sold at auction at the Anderson Gal- 
leries, New York, November 5, 1925, No. 148. 


EXxHIBITED— REPRODUCED, in half-tone, in catalogue of 
At the Second Annual Exhibition, Balti- the public sale at the Anderson Galleries, 
more, 1826. New York, November 5, 1925, frontis- 
At the Peabody Institute in Baltimore, at an piece. 
exhibition instigated by the lovers of art. Courtesy, Frick Art Reference Library, New 
York City. 
[ Zllustrated | 


416 


( A18 )s 
VICE-ADMIRAL SIR EDWARD HUGHES 


1720?-1794 

| E was present at the reduction of Porto Bello, in 1739, and at the 

attempt on Cartagena, in 1741. Commanded the “Somerset” at 
Louisbourg, 1758, and Quebec, 1759. Commander in the East Indies, 
1773-77. Rear-admiral, 1778; Vice-admiral of the Blue, 1780; Ad- 
miral of the Blue, 1793. During his second command in the East Indies 
his fleet cooperated with the English land forces in capturing Negata- 
pam in 1781 and Trincomalee in 1782 from the Dutch. He fought fave 
indecisive battles with the French under M. de Suffren, in 1782 and 
1783. He acquired “a most princely fortune,” estimated at over 40,000 
pounds sterling a year, which, it is said, he largely distributed in unos- 
tentatious acts of benevolence. He married Ruth, widow of Captain 
Bell, R.N. 

Canvas, 48 x 39 inches. A three-quarter length portrait, showing him standing 
and turned three-quarters to the left, with his eyes directed to the spectator. He 
wears a powdered wig, tied in a queue bow; a gold-braided blue naval uniform 
coat with white cuffs, a gold-braided white waistcoat, a red sash and Order, white 
lace stock and lace wrist ruffles. His right hand rests on his sword, while the left— 
only partly visible—is hanging at his side. Background of coastline, sea and cloudy 
sky. 

This portrait is owned by the Earl of Sandwich, Hinchingbrooke, Huntingdon, 
England. 


Not listed in Mason. 


417 


"C419 ): 
COMMODORE ISAAC HULL 


1773-1843 


| Bee HULL wasa son of Joseph Hull of Derby, Connecticut, and 
a nephew of General William Hull (q.v.). He received his first com- 
mission in the United States Navy as a fourth lieutenant in 1798, was 
promoted master commandant in 1804.and captain in 1806. In 1811 he 
was put in command of the frigate ‘Constitution,’ and in August, 1812, 
he had his famous and victorious encounter with the British frigate 
‘Guerriere,’ which won the ‘Constitution’ the name of “Old Ironsides.” 
Upon resigning this command, Captain Hull became a member of the 
naval board. He subsequently had charge of the navy yards at Boston 
and Washington, and commanded the squadrons in the Pacific and the 
Mediterranean. He was married in 1813 to Anna Hart, and after his 
retirement he made his home in Philadelphia, where he died, Mrs. Hull 
surviving him. 

Boston, 1813. Canvas (s), 27x22 inches. Bust, turned half-way to the left, 
with his grayish-blue eyes directed to the spectator. His complexion is ruddy and 
his curly hair and sidewhiskers are dark brown. He wears a dark blue naval uni- 
form coat with gold epaulettes and trimmed with gold braid, gold frogs and brass 
buttons; a white neckcloth and shirt frill. A black chapeau, trimmed with gold 
braid, is tucked under his left arm and is only partly visible. Plain background of 
dark brown. 

This portrait was inherited by his widow and in 1880 it came into the possession 
of Haviland Platt, Esq., of Grand Island, Osterville, Massachusetts. It is now 


owned by Mrs. Isaac Hull Platt and deposited, since 1921, with the Pennsylvania 
Museum, Memorial Hall, Fairmount Park, Philadelphia. 


ExHIBITED— ENGRAVED— 

At the Boston Museum, 1856-70, by Mrs. In stipple, by David Edwin, 1813, for the 
Hull. Analectic Magazine, 3.11 X 3.1 inches. 

At the Museum of Fine Arts, Boston, 1880. Two states. (Stauffer, 780.) 


418 


In stipple, by David Edwin, 3.11 x 3 inches. 
(Stauffer, 781.) 

In stipple, circle, by David Edwin, for the 
title of the “Constitution and the Guer- 
riere,” a folio plate engraved by C. Tie- 
bout. (Stauffer, 782.) 

In mezzotint, by George Graham (this is 
disputed), 1813, 14.15 x 13.12 inches, 


published by T. W. Freeman, Philadel- 
phia. Two states. (Stauffer, 1165.) 

On wood, by Kilburn, for Winsor’s “Me- 
morial History of Boston,” 1881, Vol. 3, 
page 339. 

On wood, by T. A. Butler, for Harper’s 
Magazine, 1892, Vol. 85, page 31. 


[ Zllustrated | 


*( 420 ): 
COMMODORE ISAAC HULL 
1773-1843 


Boston, 1814. Canvas, 30x 25 inches. A replica of the preceding portrait. 

The portrait was painted on an order from Harrison Gray Otis (1765-1848 ) 
of Boston, and, some time after his death, was bought by Parker Cleaveland 
Chandler (1848-1908 ) of Boston and New York. It was presented by him about 
1905 to Isabella P. Francis of New York, and by her was sold to George H. Story 
(d. 1922) of New York, who in 1914 sold it to Charles A. Munn (1859-1924), 
of New York, by whom it was bequeathed to the Metropolitan Museum of Art, 


New York City. 


REPRODUCED— 

As the frontispiece to “The Frigate Consti- 
tution,” by Ira N. Hollis, Boston, 1900. 
As the frontispiece of the pamphlet, “Isaac 
Hull, Commander of the Constitution,” 
a speech by James Grant Wilson, deliv- 
ered October 28, 1910, at Hotel Man- 
hattan, New York, before the “New York 


Society of the Order of the Founders and 
Patriots of America.” 

In American Homes and Gardens, Decem- 
ber, 1or4. 

Not listed in Mason. 

A copy of this, or of the other Hull portrait, 
made by Waldo and Jewett in 1834, is at 
Yale University. 


( A21 )s 
GENERAL WILLIAM HULL 
175 y- Loa 


ORN at Derby, Connecticut, he started his military career in the 

Battle of Lexington and served later under Washington during the 
campaign in New Jersey. He was inspector of the army under Baron 
Steuben and in 1796 was appointed Major-General of the Militia of 
Massachusetts. In 1805, Jefferson appointed him Governor of the terri- 
tory of Michigan, which office he held until 1812. At the beginning of 
the second war with Great Britain, General Hull was appointed to com- 
mand the Northwestern Army. History has shown that his surrender to 
the British General Brock was a result of incompetency of the powers 
above him. He was tried by a court-martial in 1814 and was actually 
sentenced to be shot, but on account of his Revolutionary services and 
his advanced age, he was recommended to mercy and the President, 
while approving this sentence, remitted its execution. General Hull 
published Memoirs of the Campaign of 1812, in the defence of himself, 
with a sketch of his Revolutionary services. During the latter years of 
his life he resided at Newton, Massachusetts. He was an uncle of Com- 
modore Isaac Hull (q.v.). 


Boston, 1823. Bust portrait, showing him turned half-way to the left, with his 
eyes directed to the spectator. His hair is white and he wears a high-collared dark 
coat, white neckcloth and frilled shirt. 

Owned in 1880 by his granddaughter, Mrs. J. H. Kollock of Savannah, 
Georgia. In 1915 it was in the possession of Mrs. Lucy Smith of Brooklyn, New 
York, a sister of General Joseph Wheeler. 


EXHIBITED, at the Exhibition of Stuart’s ENGRAVED— 
Portraits, Boston, 1828, No. 105. In line and stipple, by F. T. Stuart, for 


420 


GENERAL WILLIAM HULL 


Bugbee’s “Memorials of the Massachu- LirHoGRAPHED, by Pendleton, Boston, 

setts Society of the Cincinnati,” 1890, fac- after a drawing by S. A. Clarke after the 

ing page 257. The same engraving in portrait by Stuart. 

“New England Historical and Genealog- ReEpRoDUCED( photograph )in Drake’s “Me- 

ical Register,” 1893, Vol. 47, page 141. morials of the Society of the Cincinnati of 
In line, vignette, by John Chester Buttre. Massachusetts,” 1873, facing page 341. 


( A22 )s 


GENERAL DAVID HUMPHREYS 
D752 at SiS 


ORN in Derby, Connecticut, as the fourth son of Reverend Daniel 

Humphrey (1707-1787) and Sarah Riggs Bowers Humphrey 
(d.1787). He graduated from Yale in 1771 and received the degree of 
M.A. in 1774. In 1802, Brown University conferred upon him the 
degree of LL.D. During the years 1771-74 he taught school at Weth- 
ersfield, Connecticut, and acted as tutor at the Philipse Manor Hall in 
Westchester County, New York. His subsequent military career is one 
of rapid advancement, and in 1780 he was aide-de-camp to General 
Washington. The diplomatic career of Humphreys began in 1784 with 
his appointment as secretary to a commission for negotiating treaties of 
commerce with foreign powers, and included serving as first minister at 
the Court of Lisbon and later in Madrid. In Lisbon (1797) he married 
Ann Frances Bulkeley, the daughter of John Bulkeley, an English 
banker residing there. In 1801, with the election of Jefferson as Presi- 
dent, he returned to this country and became a leader of the woolen 
industry, building a factory in Humphreysville with model housing 
conditions and educational facilities for his employees. Throughout his 


421 


GENERAL DAVID HUMPHREYS 


lite, Humphreys was engaged in writing verse, essays, translations and a 
Life of General Putnam, all of which went through several editions. As 
companion and friend of Washington he won for himself a unique posi- 
tion among the many able men of the Revolutionary period. In the War 
of 1812 he was captain-general of the Veteran Volunteers. The name 
was not spelled uniformly until about 1794, when he finally adopted 
the signature “Humphreys.” ; 


Boston, after December, 1807. Panel, 3834x291 inches. Shown at half- 
length, seated in a carved armchair upholstered in red, turned three-quarters to the 
left, with his pale brown eyes directed to the spectator. His complexion is florid. 
He wears a powdered wig, tied with a black queue ribbon, a high-collared black 
coat, white neckcloth, lace 7abo¢ and lace wrist ruffles. He is seated at a table 
covered with a red cloth, holding with his left hand a book in an upright position 
and resting his right hand, in which he holds a paper, on the edge of this book. 
The book is bound in dark grayish-brown leather, with two title bands on the 
back: the upper one red, the lower one black, with gold lettering. On the table 
there is also an inkstand with bottle and quill pen. The plain background is in 
shades of brownish-gray to almost black. 

His portrait was presented to Yale University, New Haven, Connecticut, in 
18 30 by his widow and hangs in the Gallery of the Yale School of Fine Arts. 


ExHIBITEDat the exhibitiorf of Stuart’s por- reys, 1917, Vol. I, frontispiece. 
traits, Boston, 1828, No. 69. ReEpRopucED in Bowen’s “Centennial of 
ENGRAVED, in stipple, by G. Parker, in “Na- Washington’s Inauguration,” 1892, fac- 
tional Portrait Gallery,” 1835, Vol. II, ing page 33. 
plate 19. The same engraving in “The A copy, by G.W. Flagg, was owned in 1880 
Humphreys Family in America,” by by Doctor F. Humphreys, Orange, New 
Frederick Humphreys, 1883, facing page Jersey, and another is in the Wadsworth 
151; and in “Life and Times of David Atheneum, Hartford, Connecticut. 


Humphreys,” by Frank Landon Humph- 
[ Zllustrated | 


422 


"C423 ): 
OZIAS HUMPHRY 
1742-1810 


ORN in Honiton, Devonshire, England, where his father was a 

barber. He studied drawing under William Shipley in London and 
miniature painting under Samuel Collins at Bath. Settling in London in 
1764, he soon became one of England’s foremost miniaturists and had 
extraordinary success, painting members of the Royal family and of the 
highest nobility. The years 1773 to 1777 he spent in Rome, and from 
1785 to 1788 he traveled in India, painting miniatures of Oriental 
potentates. In 1791 he was elected a member of the Royal Academy. 
His eyesight, which had been a source of trouble to him since 1772, 
failed completely in 1797, and during the last thirteen years of his life 
_ he was forced to remain idle. 

London, 1785. Canvas, 30x 25 inches. Seated, three-quarters to the left, wear- 
ing a yellowish fawn coat with a high collar, a white neckcloth and ruffled shirt, in 
a high-backed armchair upholstered in red at a mahogany engraver’s bench, its 
sloping lid inset with green cloth, raised. His left hand, holding a miniature, rests 
on his right hand, and this rests on the table. (The hands are not entirely finished. ) 
His wig is powdered and his blue eyes are directed to the spectator. The back- 
ground at the left shows a window or recess, the remainder is a plain dark brown. 

This portrait was formerly owned by Doctor Crompton of Cranleigh, England, 
at whose death in 1891 it passed to Stephen Rowland of London, who, in 1914, 


sold it to the late Charles Henry Hart of Philadelphia. It it now owned by his 
widow, Mrs. Charles Henry Hart of New York City. 


REPRODUCED— Works of Ozias Humphry, R.A.,” 1918, 
In half-tone, in the Connoisseur for June, facing page 218. 
1914, page 95,as “Unidentified Portrait.” In half-tone, in Arts and Decoration, No- 
In photogravure, in Williamson’s “Life and vember, 1922, page 35. 
Not listed in Mason. 
[ Illustrated | 


423 


( 424 )s 


OZIAS HUMPHRY 
1742-1810 


London, c. 1785. Oval on rectangular canvas, 30x25 inches. Bust, three- 
quarters to the left, with his dark blue eyes to the spectator. His powdered wig is 
tied in a queue bow. He wears a gray coat with a collar of gray velvet; a white 
neckcloth and ample bow tie. The background is a very dark bluish-gray. This is 
said to be one of the best-known Stuart portraits and was painted for Boydell’s 
Gallery. 

The portrait was owned by Samuel P. Avery of Hartford, Connecticut, and now 
forms part of the Avery Collection at the Wadsworth Atheneum, Hartford. 


ExHIBITED— 

At the Boydell Gallery, London, 1789. Not listed in Mason. 

At Wadsworth Atheneum, Hartford, in Listed in Fielding, No. 70. 
1915. 


[ Zllustrated | 


"C425 ): 
MRS. WILLIAM HUNT 


HE was Jane Bethune, daughter of George and Mary (Faneuil) 
Bethune of Boston and a sister of Doctor George Bethune (q.v.). 
She married William Hunt of Boston in 1787. 


Boston, 1819. Panel, 2612x21 inches. Life-size, bust, seated in a gilt Empire 
armchair, upholstered in red, body half-way to left, with her head slightly to 
the left and her dark brown eyes directed to the spectator. She wears a white muslin 
turban, fastened above the center of her forehead by a gold ring-shaped clasp, and 
a simple high-neck black silk dress. Her neck is encircled by a white lace ruff in 
three rolls. Her hair, which shows only in a few small tight ringlets on her fore- 
head and temples beneath the turban, is dark brown. A black lace shawl is thrown 
over her shoulders. The plain background is of a light brown color. 


424 


MRS. WILLIAM HUNT 


Inherited by her daughter, Marie Bethune Hunt, wife of General H. K. Craig, 
U.S.A., it passed to Mrs. Craig’s daughter, Jane Bethune Craig, wife of General 
John P. Hawkins, U.S.A., whose husband presented it in 1913, in the name of his 
wife, to the Museum of Fine Arts, Boston. 


A copy of this portrait was owned in 1883 date are painted on the back of the picture. 
by Mrs. E. B. Stein. Stuart’s name and the Edward J. Moore, photo. 


| Zllustrated | 


( 426 ): 
REVEREND JOSEPH HURLBUT 
H, was of New London, Connecticut. 


Owned in 1880 by his daughter of New London, Connecticut. 


[ Zllustrated | 


"(427 )- 
MISS ELIZABETH INCHES 
LiPo Lace 
DAUGHTER of Henderson and Elizabeth (Brimmer) Inches of 


Boston. She died unmarried. 


Boston, 1812. Panel, 3176 x25% inches. Half-length, life-size, seated half- 
way to right, in an Empire armchair upholstered in peacock-blue silk brocade, 
her head slightly to the right and her large blue eyes directed to the spectator. She 
wears a very simple high-waisted white satin gown, cut very low in the neck, and 
with small, slightly puffed sleeves which only cover the upper half of the upper 


425 


MISS ELIZABETH INCHES 


arm. Her hair is reddish-brown, and a narrow braid encircles the head just above 
the forehead, the latter being partially concealed by long ringlets which reach to 
the eyebrows. Her complexion is fresh and her expression vivacious, faintly sug- 
gesting a smile. An India shawl of rich colors hangs from the left shoulder on to 
the lap, completely hiding the left arm, reappears at her right side behind her arm 
and falls over the arm of the chair. Her right elbow rests upon the chair arm, with 
the fingers of the right hand intertwined with those of the left, which lies palm 
upwards on her lap. The upper right arm is encircled with a narrow chased gold 
amulet. The background, which is plain, is of varying tones of browns and 
greenish-browns. 

The portrait was inherited by her brother, Henderson Inches, and then by his 
son, Henderson Inches (1805-1884), both of Boston. In 1902 it was owned by 
Mrs. George Inches, and after the death of her husband in 1919 it became the 
property of Mrs. Orric Bates of Boston. 


EXxHIBITED— lection of Portraits and Pictures of Fair 


At the exhibition of Stuart’s portraits, Bos- Women,” in 1902. 
ton, 1828, No. 107. At Museum of Fine Arts, Boston, summer 
At Copley Hall, Boston, at “A Loan Col- of 1924. 


Edward J. Moore, photo.. 


[ Zllustrated | 


( 428 ): 
MISS ANN IZARD 


[97 O0sLGOR 


NN IZARD, the daughter of Ralph Izard, Senator for South Caro- 
lina, and his wite Alice (Delancey) Izard, was born in Paris while 

her parents were travelling on the Continent. She married William 
Allen Deas of South Carolina. Her son, Charles Deas (born in 1818, 
died insane), studied at the National Academy of Design in New York, 
and many of his pictures became widely known through engravings. 


426 


MISS ANN IZARD 


Mrs. Deas published her father’s “Correspondence from 1774 to 1784,” 
with a short memoir, in 1844 in Boston. 

New York, 1794. Painted in oval on rectangular canvas, 30x247% inches. 
Apparently a standing figure showing below the waist, turned half-way to the 
right, with her dark brown eyes directed to the spectator. The dress is of a sheer 
white material with a girdle of old rose silk trimmed with beads. Beads also bind 
the arm. A ruffle of lace edges the fichw, which forms part of the bodice. The 
luxuriant brown hair is parted, with curls on the forehead, and hangs down her 
back held together at the nape of the neck; she wears earrings. Open air back- 
ground of sky and clouds; the spandrels are of dark tones. 

Her portrait was inherited by her daughter, Mrs. Charlotte Deas Watts of New 
York, and then by her son, Doctor Watts of New York, and then by his son, who 
sold it in 1912 to M. Knoedler & Co. of New York, who sold it in 1913 to Mrs. 
Edward H. Harriman of Arden House, Harriman, New York. 


Courtesy, Messrs. M. Knoedler & Co. 
[ Zllustrated | 


"C429 ): 
FRANCIS JAMES JACKSON 
1770-1814 


E was a son of Thomas Jackson, D.D., minister of St. Botolph, 

Aldersgate, London. He entered diplomatic service at the age of 
sixteen; was secretary of legation from 1789-1797 at Berlin, and then at 
Madrid; in 1802 he was sent as minister plenipotentiary to Berlin where, 
except for a brief period, he remained until 1806; in 1807 he was sent to 
Denmark ona special mission which preceded the seizure of the Danish 
fleet, which gave him his name of “Copenhagen” Jackson; in 1809 he 
was minister plenipotentiary to Washington upon the recall of David, 


427 


FRANCIS JAMES JACKSON 


second Baron Erskine, where he remained until the rupture between the 
United States and England, in 1811. He died at Brighton, after a linger- 
ing illness. 

Jonathan Robinson, United States Senator from Vermont, writing 
under date of February 4, 1810, to Royal Tyler, Chief Justice of Ver- 
mont, says: “Of war, let no man speak, for we shall have none, unless 
Britain invade us, and then I shall have my doubts, since the City of New 
York has played ‘God save the King’ at the approach of the Copen- 


hagen Jackson.” (“History of Brattleborough,” by H. Burnham, 1880, 
page 99.) 

Boston, 1810. Panel (s), 32 x26 inches. He is shown seated, his body almost in 
profile, his head three-quarters right, with his blue eyes directed to the spectator, in 
an armchair upholstered in red. In front of him, in the lower right corner of the 
picture, is a table covered with a red cloth. He wears a black, high-collared coat 
with large horn buttons, a white neckcloth, and a frilled shirt. His curly hair, 
brushed forward over his ears and reaching nearly to his left eyebrow, is brown, as 
are his sidewhiskers. His head is tipped slightly forward. His right arm rests upon 
the arm of the chair, and his left hand, closed, on a sheet of paper lying on the 
table, while his right hand rests on top of his left and holds an unfolded letter. 
Beyond his hands appear an inkstand and quill. The background is dark and plain.* 

His portrait was acquired either by purchase or gift by Colonel Thomas 
Handasyd Perkins (1764-1854), a personal friend of Jackson’s, and at his death 
it passed to his daughter Caroline, wife of William Howard Gardiner (d. 1882) 
of Brookline, Massachusetts. It was next owned by their son, Charles Perkins 
Gardiner (d. 1908) of Brookline, and then by his widow (d. 1914), who, after her 
husband’s death, removed to Boston, and subsequently gave the portrait to her 
granddaughter, Miss Caroline E. Perkins Cabot of Boston, the present owner. 


* Dunlap says that when Jackson was leav- ExHIBITEDat the exhibition of Stuart’s por- 
ing England, West told him that he would traits, Boston, 1828, No. 168. 
find the best portrait painter in the world Norte: Mason lists this portrait of Jackson 
in America and that his name was Gilbert twice: once on page 203, and again on 
Stuart. page 204. 
| Zdlustrated | 


428 


( 430 )s 
MRS. FRANCIS JAMES JACKSON 


HE wife of Francis James (“Copenhagen”’) Jackson (q.v.). 


Painted probably in Boston in 1810. I have not been able to locate this portrait. 


( 421 )s 
GENERAL HENRY JACKSON 


1747-1809 


ie)... G the Revolutionary War General Henry Jackson was a 
close friend of General Henry Knox (q.v.) and was attached to his 
regiment. He became the first treasurer of the Order of the Cincinnati. 


Boston, c. 1809. Panel, 33 x26%% inches. Bust, three-quarters to the right, 
with his dark blue eyes directed slightly to the right of the spectator. His complex- 
ion is florid and his curly hair white. His coat is black and the edge of a light waist- 
coat with buttons is seen between the coat and the white ruffled shirt. The plain 
background is dark brown. 

This portrait was painted for Mrs. James Swan, at whose house General Knox 
and General Henry Jackson are said to have stayed during the siege of Boston. It 
was in memory of this, and in recognition of protection to their property (accord- 
ing to family tradition) that Mrs. Swan had Stuart paint portraits of both of them. 
She bequeathed the portrait to her grandson, Henry Jackson Sargent (not a re- 
lation of the General, but named after him), who left it to his son, Francis W. 
Sargent, who left it to his widow, the present owner, of Wellesley and Boston, 
Massachusetts. 


ExuiBiTepat the exhibition of Stuart’s por- Courtesy, Frick Art Reference Library, New 
traits, Boston, 1828, No. 193. York City. 
| Illustrated | 


429 


(422 ) 


MRS. WILLIAM JACKSON 
1768-1858 


LIZABETH, second daughter of Thomas (q.v.) and Ann 
EK (McCall) Willing of Philadelphia. She married in 1795 Major 
William Jackson (1759-1828), aide-de-camp and private secretary to 
Washington. She was noted for her beauty and mentality. 


Philadelphia, c.1798. Canvas, 30x25 inches. Half-length, seated, turned 
slightly toward the right, with her head nearly front, and with her light brown 
eyes directed to the spectator. Her luxuriant and curly hair, hanging down her 
back, is powdered, and her complexion is very fair. She wears a white dress with a 
double ruching of sheer lace around the low neck, which is partially filled in with 
folds of white gauze. A white lace turban sets on her beautiful head, and the arms 
of the chair on which she is sitting are entirely hidden by the billowy folds of a 
white shawl. Her hands do not show. The plain background is in shades of olive 
green. 

At Mrs. Jackson’s death, her portrait was inherited by her daughter, Miss Anne 
Willing Jackson (1801-1876) of Philadelphia, who left it at her death to the 
Pennsylvania Academy of the Fine Arts in Philadelphia. 


Exuisirtep at the “Loan Exhibition of His- In Bowen’s “Centennial of Washington’s 
torical Portraits” held at the Pennsylvania Inauguration,” 1892, facing page 262. 
Academy of the Fine Arts, Philadelphia, In half-tone, in “Masters in Art—Stuart,” 
December 1, 1887, to January 15, 1888. 1906, plate X. 

EncraveEp, on steel, for Griswold’s“Repub- In half-tone, in E. T. Sale’s “Old Time 
lican Court,” edition 1867 (enlarged to Belles and Cavaliers,” 1912, facing page ~ 
a three-quarter length and with changes). 176. 

REPRODUCED— In half-tone, in M. C. Crawford’s “Ro- 

As photogravure, in Mason’s “Life and mantic Days in the Early Republic,” 1912, 
Works of Gilbert Stuart,” 1879, facing facing page 44. 
page 251. 

[ Illustrated | 


430 


C433 


REVEREND SAMUEL FARMAR JARVIS 
1786-1851 


A SON of Bishop Abraham Jarvis, born in Middletown, Connecticut. 

He graduated from Yale University in 1805. From 1813 until 
1819 he was rector of St. James’ Church in New York, and in 1820 was 
chosen first rector of St. Paul’s Church in Boston. He resigned in 1826, 
and until 1835 traveled and studied in Europe. In 1837 he was called 
to the rectorship of Christ Church, Middletown, Connecticut, and in 
1838 was chosen church historiographer by the general convention. 
He resigned his pastorate in 1842 and thereafter gave his time to literary 
work. Doctor Jarvis was an enthusiastic patron of art. 

Boston, c. 1820. The portrait was in Stuart’s studio when the building took fire 
and was slightly damaged by smoke. It was painted for a Miss Callahan, a friend 
of Doctor Jarvis, but Stuart never finished it. According to Mason this was due to 
the fact that Mrs. Jarvis, while Stuart was at work upon it “ventured to criticise 
some of the details, which so annoyed Stuart that he refused to go on with his 
work. After the death of Stuart, the drapery and hands were finished by his 
daughter.” 

After the death of Doctor Jarvis, Miss Callahan presented the portrait to his 


son, Samuel Farmar Jarvis of Windham County, Connecticut. It is now owned by 


Miss Ellen A. Jarvis. 


ExuIBITED at the Wadsworth Atheneum, Hartford, Connecticut, in 1924. 


431 


ren ct) 


DON JOSEF DE JAUDENES Y NEBOT 
1764-Dhied before 1819 


Ds JOSEF DE JAUDENES Y NEBOT was chargé d’affaires of 
Spain to the United States from 1791 to 1796. In 1794 he married 
Louisa Carolina Matilda (q.v.), daughter of Don Juan Stoughton, 


Spanish Consul in Boston. 


New York, 1794. Canvas, 4912x3934 inches. He is shown three-quarters, 
seated in an armchair upholstered in light blue, turned three-quarters to the left, 
with his light brown eyes directed to the spectator. His hair is powdered and tied 
in a queue bow. He wearsa dark blue velvet coat lined with scarlet; a scarlet waist- 
coat and scarlet breeches; the whole being embroidered with silver; and white 
stockings. The 7a4ot at his throat and the frills at his wrists are of exquisite lace. 
His right hand rests upon an open letter on a table covered with a green cloth, on 
which his high-cocked hat and gold-headed cane are partially visible. His left 
hand grasps lightly the hilt of his dress sword. A green curtain is draped in the 
background, showing, at the left, some book-shelves. In the upper right-hand 
corner is a coat of arms under which is the following inscription: “Don Josef de 
Jaudenes y Nebot Comisario Ordenador de los Reales Exercitos y Ministro Em- 
biado de Su Magestad Catholica cerca de los Estados Unidos de America. Nacié 
en la Ciudad de Valencia Reyno de Espafia el 25 de Marzo de 1764.” At the lower 
right-hand corner is: “G. Stuart, R.A., Sept. 8, 1794.” The coat of arms, inscrip- 
tion and the artist’s name are not by Stuart. 

Purchased by the Metropolitan Museum of Art, New York, in 1907. 


REPRODUCED— In color, in McClure’s Magazine, New 
In half-tone, in Bulletin of the Metropoli- York, June, 1908. 
tan Museum of Art, New York, in 1907. Not listed in Mason. 


Listed in Fielding, No. 71. 
[ Illustrated | 


432 


435 ): 
DONA JOSEF DE JAUDENES Y NEBOT 
1778-Died after 1822 


OUISA CAROLINA MATILDA STOUGHTON was the second 
daughter of Don Juan (John) Stoughton who, for thirty years 
previous to his death in 1820 in his seventy-sixth year, was the Spanish 
Consul in Boston. He was prominent in the establishment of the first 
Roman Catholic Cathedral in the United States, erected in Boston. 
Esther Fletcher, whose death in 1789 is noticed in a contemporary 
Boston newspaper, and who was the mother of his daughter Louisa, was 
either Stoughton’s first or second wife. Louisa Carolina Matilda was well 
known in Boston, in her youth, for her beauty. In 1794 she married 


Don Josef de Jaudenes y Nebot (q.v.). 


New York, 1794. Canvas, 49x 38% inches. She is shown three-quarters, 
seated in an armchair upholstered in red with her body turned three-quarters to 
the right and her soft light brown eyes directed to the spectator. Her dress is of 
white flowered silk, finished at the neck with a dainty fichu edged with lace. Her 
luxuriant hair is powdered and a coronet-shaped headdress with two tall feathers 
is set on top of her head in the center. Nestling in her hair, at the base of the head- 
dress, are clusters of jewels. Jewels are in her ears, around her neck, on her dress, 
and at her wrists. By her side is a table, with a red velvet cover, on which are two 
leather-bound books, one open as though she had been reading. Her hands are in 
her lap and she holds a closed fan. A brownish-pink curtain is draped in the back- 
ground, showing clouds and a sky of blue and pink at the right. In the upper left- 
hand corner under a coat of arms is the following inscription: “Donia Matilde 
Stoughton de Jaudenes-Esposa de Don Josef de Jaudenes y Nebot Comisario 
Ordenador de Los Reales Exercitos de Su Magestad Catholica y su Ministro 
Embiado cerca de los Estados Unidos de America. Nacio en la Ciudad de Nueva- 
York en los Estados Unidos el 11 de Enero de 1778.” At the lower left-hand 


433 


DONA JOSEF DE JAUDENES Y NEBOT 


corner is: “G. Stuart, R.A., Sept. 8, 1794.” Asin the previous picture, the inscrip- 
tion, coat of arms and artist’s name are not by Stuart. 


Purchased by the Metropolitan Museum of Art, New York, in 1907. 


REPRODUCED— In color, in McClure’s Magazine, New 
In half-tone, in Bulletin of the Metropoli- York, June, 1908. 
tan Museum of Art, April, 1907. Not listed in Mason. 


Listed in Fielding, No. 72. 
[ Illustrated | 


C436 ): 


JOHN JAY 
1745-1829 


SON of Peter Jay, a West Indian merchant, son of a Huguenot 
A refugee who settled in New York in 1686, and his wife, who was 
a daughter of Jacobus Van Courtlandt. John Jay was born in New York 
and was graduated from Columbia (then known as King’s College) in 
1764. He studied law under Benjamin Kissam, and was admitted to the 
bar four years later. His first partner was Robert R. Livingston (q.v.). In 
1774 he married Sarah Van Brugh Livingston (1757-1802), daughter 
of William Livingston, afterwards the first governor of New Jersey. In 
1782 he was summoned to Paris to cooperate with Benjamin Franklin in 
negotiations for peace between England and America. In 1794 he went 
to England at the instance of George Washington to avert war if possible. 
His discharge of this mission subjected him to a storm of criticism and it - 
has been declared that the temporary loss of popularity in the United 
States prevented the federalists from making him, instead of John 
Adams, their candidate for President in 1797. During intervals John 
Jay was not only Secretary of Foreign Affairs, Governor of New York 


474 


JOHN JAY 


and Chief-Justice pro tempore, but, as a member of the newly created 
council of safety, he shared in the exercise of executive power. As to his 
personal character it has been said: “He lives in our memories a flawless 
statue whose noble lineaments have everything to gain from the clear 


light of history.” 


London, c. 1782. Canvas, 5042x394 inches. This portrait was found in a 
garret in London by John Trumbull with the head only partially finished. Trum- 
bull added the figure and details, Peter Augustus Jay sitting for the figure. He is 
shown seated, three-quarters length and three-quarters right, with his blue eyes 
directed to the spectator’s right, in a gilded chair upholstered in figured red bro- 
cade, fastened with small brass-headed nails. His right leg is crossed over his left 
knee; his hair is powdered and his complexion is ruddy. He wears a brown velvet 
coat, lined with white satin, a white neckcloth and a frill which protrudes from 
the high, partially unbuttoned white satin waistcoat with small white buttons; 
white ruffles at the wrists; black silk knee-breeches, gold knee-buckles, and black 
silk stockings. His right arm rests on a table covered with a green cloth, the hand 
resting on the arm of the chair; his left arm, thrown over the arm of the chair, 
with his hand holding an opened letter. On the table are four leather-bound books, 
standing upright, two with red labels, and a sheet of paper. The background is 
plain and warm, with a dark red curtain faintly discernible at the left and right of 
the center. 

The portrait came into the possession of his eldest son, Peter Augustus Jay 
(1776-1843), who, about 1830, gave the portrait to his eldest son, John Clarkson 
Jay, M.D., of Rye, Westchester County, New York (1808-1891 ), at whose death 
it passed to his son, Doctor John Clarkson Jay, Jr. (1844-1924), of New York 
City, who left it to his son, John Clarkson Jay of New York City, the present 
owner. 


ExuIBITep at Centennial Exposition, Phil- lery,” Volume II, plate 4. 
adelphia, 1876, by J. C. Jay. REPRODUCED in Bowen’s “Centennial of 
ENGRAVED, in line,in 1834,by Asher Brown Washington’s Inauguration,” 1892, fac- 
Durand, for the “National Portrait Gal- ing page 155. 


435 


iCr Be yA 
JOHN JAY 
1745-1829 


New York, 1794. Canvas, §3 x 40 inches. Three-quarters length, seated, turned 
three-quarters to the right, with his blue eyes directed to the right. His dark brown 
hair, scanty on top, is tied in a queue bow. He wears a black silk robe, with red 
sleeves and facing, which are outlined with silver braid; a white neckcloth, lace 
jabot, and lace wrist-cuffs. His left hand rests on a brown leather-bound book, 
which stands on a table covered with a dull red cloth. A reddish-brown curtain is 
draped at the left; the background is golden brown with a column at the right. 

This is the first portrait of John Jay painted entirely by Stuart, and was received 
by the family November 15, 1794. 

This portrait, which is the finest of the Stuart Jays, was given to his eldest son, 
Peter Augustus Jay (1776-1843), who bequeathed it to his second son, Peter 
Augustus Jay, who left it to his son, Peter A. Jay. The portrait has been for many 
years deposited with the Metropolitan Museum of Art, New York. 


EXHIBITED— REPRODUCED— 

At Boston Athenzum, in 1832. In photogravure, in Mason’s “Life and 

At Centennial Celebration of Washington’s Works of Gilbert Stuart,” 1879, facing 
Inauguration, New York, 1889 (120). _ -~page 205. 

At Loan Collection of Paintings by Early In Bowen’s “Centennial of Washington’s 
American Artists, Metropolitan Museum Inauguration,” 1892, facing page 31. 
of Art, New York, November, 1895, to In Chauncey M. Depew’s “100 Years of 
May, 1896 (208 L). American Commerce,” 1895, Vol. I, fron- 

ENGRAVED— tispiece. 

Instipple, by W. S. Leney, 5.1 x 4.1 inches. _. Four copies of this portrait were made by 
Three states. (Stauffer, 1789.) Oliver Lay, one of which is in the New 

In stipple, by W.S. Leney, 3.15x3.2 inches. York Historical Society and another in 
Two states. (Stauffer, 1790.) the Capitol at Albany, New York. An- 

In line, bust only, by H. B. Hall, and re- other copy, made by Henry Peters Gray, 
produced in “Famous Families of New hangs in the robing room of the Justices 
York,” by Margherita Arlina Hamm, of the Supreme Court in the Capitol, 
1901, facing page 188. Washington, District of Columbia, the 

ErcHED— gift of Jay’s grandson, the Honorable 

Bust only, by Albert Rosenthal, Philadel- John Jay of New York. Copies are also 
phia, in 1887. owned by the Misses Julia Jay Pierrepont 

Full size, by Max Rosenthal and Albert and Anna Jay Pierrepont of Brooklyn, 
Rosenthal, Philadelphia, for Hampton L. New York; and by Mrs. Matthew Clark- 
Carson’s “Supreme Court of the United son, Miss Eliza Clarkson Jay, and Ed- 
States,” 1891, frontispiece. mund Randolph Robinson, all of New 

York. 
[ Illustrated | 


436 


438 )- 
JOHN JAY 


1745-1829 


New York, 1794. Canvas, 5012x414 inches. Shown three-quarters length 
and three-quarters to the right, seated in a gilded armchair upholstered in figured 
red brocade and studded with brass nails. His blue eyes are directed to the right, 
and his powdered hair is tied with a black queue bow. He wears a black coat, gray 
waistcoat, black knee-breeches with gold knee-buckles, and black silk stockings; a 
white neckcloth anda ruffled shirt with ruffles showing at wrists. A watch fob with 
a red ribbon hangs from a pocket on the right side of his breeches. His right arm 
is thrown over the back of the chair, the hand holding a quill pen. His left forearm 
rests on a table covered with a green cloth; two sheets of paper are under his hand. 
Beyond are seen an inkwell and two books bound in brown morocco with title labels 
of red and blue. His left leg is crossed over his right knee. The background consists 
of a greenish gray wall with a fluted column, and blue sky with white clouds at 
extreme right. 

This is the second portrait of John Jay painted entirely by Stuart and was 
received by the family from Stuart on 5 December, 1794. It is considered, by the 
family, the best likeness of John Jay of all the Stuarts. 

This portrait was given by John Jay to his second son, William Jay (1789-1858 ) 
and at his death passed to his son, the Honorable John Jay (1817-1894) of New 
York, United States Minister to Austria. It was then inherited by his son, Colonel 
William Jay (1841-1915), who bequeathed it to his daughter, Mrs. Arthur 
Iselin of Bedford House, Katonah, New York. 


EXxHIBITED— REPRODUCED— 

At Centennial Celebration of Washington’s In Bowen’s “Centennial of Washington’s 
Inauguration, New York, 1889 (121). Inauguration,” 1892, facing page 156. 
At a Loan Exhibition, American Art Gal- In photogravure, in Fiske’s “Critical Period 

leries, New York, November, 1903 (224). of American History,” 1898, facing page 
ENGRAVED, in stipple, head only, oval in 26. 
rectangular, 12.5 x 8.11 inches, by Cor- Courtesy, Frick Art Reference Library, New 
nelius Tiebout, London, 1795. York City. 
[ Illustrated | 


437 


AOD 
JOHN JAY 


1745-1829 
New York, 1794. Canvas, 50¥2x41% inches. A replica of the preceding 


picture. 

This portrait was given by John Jay, when Governor of New York, to Stephen 
Van Rensselaer, at that time Lieutenant-Governor of New York. It was owned 
in 1880 and 1890 by Stephen Van Rensselaer’s granddaughter Cornelia, wife of 
Nathaniel Thayer of Boston. At her death it was inherited by her son, Nathaniel 
Thayer of Boston and Lancaster, Massachusetts, and then by his widow. 


EXHIBITED at the Museum of Fine Arts, REPRODUCED in Bowen’s “Centennial of 
Boston, in 1919, and it was still there in Washington’s Inauguration,” 1892, fac- 
1924. ing page 155. 


"C440 ): 
JOHN JAY 


1745-1829 


New York, 1794. Canvas, 502x414 inches. This is another replica of the 
portrait at Bedford House, Katonah, New York. It was given by John Jay to his 
eldest son, Peter Augustus Jay (1776-1843), who left it to his daughter, Cathe- 
rine Helena Jay (1815-1889), wife of Doctor Henry A. Du Bois, who in turn 
bequeathed it to her son, Professor Augustus Jay Du Bois (1849-1915) of the 
Sheffield Scientific School, Yale University. He, dying without issue, left it to the 
eldest son of his youngest brother, Arthur Mason Du Bois, Esq., of New York City, 
the present owner. 


438 


441): 
THOMAS JEFFERSON 


1743-1826 


HOMAS JEFFERSON, third President of the United States, 
was a son of Colonel Peter and Jane (Randolph) Jefferson of 
“Shadwell,” Albemarle County, Virginia. 


Philadelphia, 1799. Canvas, 4612 x 3834 inches. Seated, half-way to the left, 
in an armchair with gilded frame, upholstered in red, in front of a table on which 
his right hand, partially closed, rests. His left hand lies on his lap. His brown eyes 
are directed to spectator and he sits erect. His hair is powdered and tied with a 
black queue bow, and his complexion is ruddy. He wears a black coat, partially 
open, black waistcoat and black breeches, his lower limbs being concealed beneath 
the red table cloth; a white neckcloth and ruffled shirt. On the table under his 
hand lie two sheets of paper and beyond two upright leather-bound volumes. At 
the right of the canvas, behind the figure, is a brownish-red curtain. In the central 
background is a greenish-gray column resting on a solid balustrade behind which 
the curtain is again seen, and still beyond, at the left, blue sky and clouds. 

This portrait was painted from life for James Bowdoin (q.v.), son of Governor 
James Bowdoin of Massachusetts, and is owned by Bowdoin College, Brunswick, 
Maine. It is the most attractive of all the portraits of Jefferson which Stuart 
painted. 


ENGRAVED— 
In stipple, bust only, oval in rectangular, by In stipple and line, bust only, by O. Pelton, 
Robert Field, 1807, 5.14.x 5 inches. 3.2 X 2.8 inches. 


In stipple, bust only, by J. B. Longacre 
after Robert Field, 3.13x3.3 inches. Two REPRODUCED— 


states. In Bowen’s “Centennial of Washington’s 
In stipple, bust only, by J. B. Longacre, Inauguration,” 1892, facing page 23. 
2.2 X I.10 inches. In photogravure, in “The Writings and 
In stipple, by J. B. Longacre, 4.2 x 3.5 Speeches of Daniel Webster,” 1903, Vol. 
inches. I, facing page 300. 
In stipple, by J. B. Longacre, 4.13 x 2.12 In half-tone, in “Masters in Art—Stuart,” 
inches. 1906, plate 9. 
[ Illustrated | 


439 


"C442 ): 


THOMAS JEFFERSON 
1743-1826 


1800 or 1804. Oval on rectangular canvas, 1832x18% inches. This is a 
medallion portrait, showing the left side of the face. Mrs. Jefferson considered it 
the better of the two original portraits of her husband by Stuart. It has never been 
out of the family, and it is still in the original frame as it hung at Monticello. 

This medallion was given by President Jefferson to his granddaughter, Mrs. 
Joseph Coolidge of Boston, from whom it passed to her son, the Honorable Thomas 
Jefferson Coolidge (1831-1920) of Boston, and he gave it, about 1917, to his 
daughter, Sarah Lawrence, wife of Thomas Newbold, Esq., of Boston. At her 
death in 1923 the portrait passed into the possession of her husband, the present 


owner. 

ENGRAVED— Among the many copies that have been 

In mezzotint, by J. C. Buttre, 4.5 inches in made of this portrait is one by Asher 
diameter. Brown Durand; one owned by Mrs. John 

In stipple, by David Edwin, 1809, 2.12 x W. Burke; another is in the Redwood Li- 
I.14 inches, after an enamel by William brary, Newport. The Corcoran Gallery, 
Birch, now in the possession of Mrs. S. Washington, District of Columbia, has a 
Weir Mitchell, Philadelphia. copy made by Doctor William Thornton 

REPRODUCED in Bowen’s “Centennial of (q.v.),and another copy by Doctor Thorn- 
Washington’s Inauguration,” 1892, fac- ton is owned by Doctor Frederick B. Mc- 
ing page 23. Guire of Washington. 


[ Zilustrated | 


(443): 


THOMAS JEFFERSON 
1743-1826 


Washington and Boston, c. 1805—o0g. Panel, 27x22 inches. Bust, turned half- 
way to the left. Black coat; white neckcloth and shirt ruffle. His hair is curly and 
parted in the middle. 

The “Edgehill” portrait. Said to have been painted from life. It was executed 
for Colonel Thomas Jefferson Randolph, a grandson of Jefferson, and was inher- 


440 


ited by his daughters, Mrs. William B. Harrison, Miss Sarah N. Randolph and 
Miss C. R. Randolph of “Edgehill,” Keswick Post Office, Albemarle County, 
Virginia. About 1902 it was inherited by a niece of the Misses Randolph, Mrs. 
Edward Jacquelin Ambler Smith of Fredericksburg, Virginia, and sold by her to 
the Honorable Francis Burton Harrison, Esq., of ‘Teaninich House, Alness, Ros- 
shire, Scotland, a great-great-nephew of the subject. 


EncRavED— versed, anonymous, for Martin, Johnson 
In mezzotint, by T. B. Welch, 5.3 x 4.5 & Co., New York, 1856, 5.14x4.14 inches. 
I ee Me hen Tinh LirHoGRAPHED— 

Me ace as ar at glares gt Vignette, by Endicott & Swett, Baltimore, 


183%. 
Vignette, by Childs & Inman, Philadelphia. 
Vignette, reversed, by H. Garnier, for “Gal- 


Instipple, by J. B. Forrest, 4.6 x 3.8 inches. 
In stipple, by A. Willard, 1823, 3.13 x 3.2 


inches. erie Universelle.” 
In line and stipple, vignette, by H. B. Hall. ; 
In line and stipple, vignette, by H. B. Hall, REpropucepD in Bowen’s “Centennial of 
Junior. Washington’s Inauguration,” 1892, fac- 
In line, vignette, reversed, by V. Balch, 3.4 ing page 21. 
x 2.8 inches. A copy, by Papoon, is owned by Doctor C. 
In line, oval, with ornamental border, re- Mason Smith of Fredericksburg, Virginia. 


Gatcteti)s 


THOMAS JEFFERSON 
W715 2.0 


Boston, c. 1810. Canvas, 30x25 inches. Bust portrait, turned half-way to the 
left, and very similar to the other two bust portraits as well as to the head in the 
three-quarter length picture at Bowdoin College. 

It was painted for President James Madison, whose widow sold it to Edward 
Coles (1786-1868), who had been Madison’s private secretary from 1809 to 
1815 and who in 1822 became Governor of Illinois. At his death it descended to 
his son, Edward Coles (1837-1906) of Philadelphia, who left it to his daughter, 
Miss Mary R. Coles of Philadelphia. 


Exuisitep at the “Loan Collection of His- “Century Gallery of 100 Portraits,” 1887, 
torical Portraits,” Pennsylvania Academy plate 25. 
of the Fine Arts, Philadelphia, Decem- ReEpropuceD in Bowen’s “Centennial of 
ber 1, 1887, to January 15, 1888. Washington’s Inauguration,” 1892, fac- 
ENGRAVED, on wood, by T. Johnson, for the ing page 25. 


441 


ere? 


THOMAS JEFFERSON 
1743-1826 


Panel, 2558x211 inches. Half-way to the left, with eyes to spectator. He 
wears a black coat, white neckcloth and jabo¢. His gray curly hair is parted in the 
middle. Plain background of warm browns. 

This portrait is owned by Thomas Jefferson Coolidge, Esq., of Boston. It is one 
of a set of the first five Presidents painted by Stuart for Colonel George Gibbs 
(q.v.). Its history is the same as that of the “‘Gibbs-Coolidge” portrait of Wash- 
ington, forming a part of this set. 


EXHIBITED at a banquet in City Hall, New 4.13 X 3.11 inches. 

York, 1839, on the occasion of the semi- In stipple and line, by H. W. Smith, New 

centennial celebration of Washington’s York, 1875. 

Inauguration. REPRODUCED in Bowen’s “Centennial of 
ENGRAVED— Washington’s Inauguration,” 1892, fac- 
In mezzotint and line, oval, by J. C. Buttre, ing page 150. 

[ Illustrated | 


C446 


THOMAS JEFFERSON 
1743-1826 


This portrait, a replica (according to Bowen a replica of the one now in Bow- 
doin College), was one of a set of the first five Presidents which was painted by 
Stuart for John Doggett, a well-known picture dealer of Boston. (For details see 
history of portrait of John Adams belonging to this set.) The portraits were kept 
in the Congressional Library until 18 51, when the portraits of Washington, Adams 
and Jefferson were destroyed by fire. Those of Madison and Monroe were saved. 


ExuIBITED at the exhibition of Stuart’s portraits, Boston, 1828, No. 29. 


442 


ett) 


THOMAS JEFFERSON 
1743-1826 


A replica. Now in the Executive Mansion at Washington. It was painted for 
Lewis Saunders, or, at any rate, he was the original owner. He sold it to Major 
William S. Dallam of Lexington, Kentucky, and at his death it was inherited by 


his daughter who, in 1874, sold the picture to Congress for $1,000. 
& 


C448 
DOCTOR WILLIAM SAMUEL JOHNSON 

1727-1819 
ILLIAM SAMUEL JOHNSON’S father was Doctor Samuel 
Johnson of Stratford, Connecticut, and his mother a daughter 
of Colonel Richard Floyd of Brookhaven, Long Island. He studied 
divinity at Yale and was graduated in 1744, at the age of seventeen. 
Deciding to become a lawyer, he entered Harvard College in 174.7 and 
received the degree of M.A. He soon attained a high standing in his 
profession and in 1761 was elected to represent the town of Stratford in 
the lower house of the general assembly, was reélected in 1765 for two 
sessions, and took his seat in the upper house. He was also appointed a 
delegate from Connecticut to the Stamp-Act Congress in 1765; special 
envoy to the court of Great Britain, 1766-1771; judge of the Superior 
Court of Connecticut, 1772-1774; one of the three counsellors for 
Connecticut in the celebrated trial known as the Susquehanna case, 
1784-1787; delegate to the Continental Congress; senator from Con- 
necticut. In 1789 he was appointed president of Columbia College, 


443 


DOCTOR WILLIAM SAMUEL JOHNSON 


and thus became the first head of the institution under the new charter, 
as his father had been of King’s College under the royal charter. Owing 
to illness he resigned his office in 1800 and returned to his home in 
Stratford, where he passed the remainder of his life. He married, first, in 
1749, Ann Beach (d.1796) of Stratford, and second, in 1800, Mrs. 
Mary Beach, of Kent, Connecticut, the widow of a kinsman of his first 
wife. Doctor Johnson was consulted by eminent men not only upon 
legal and political affairs, but also upon literary, philosophical and 
ecclesiastical matters. He was probably in his day unexcelled as an 
orator, was a man of commanding and attractive personal appearance, 
and superior mental attainments. He was awarded the degree of D.C.L. 
from Oxford in 1776, and that of LL.D. from Yale in 1778, being the 
first graduate of the last-named college to receive the honorary degree 
in law, as his father was the first to receive the honorary degree in 
divinity. 

New York, 1793. Canvas, 3532x27'% inches. His portrait, showing him 
in his Oxford robes, is a superb painting, and is said to be the first portrait 
painted by Stuart upon his arrival in New York; there is a tradition in the family 
that Stuart took a great deal of pains with the picture, as a specimen of his skill 
after years of study in England. Doctor Johnson is shown half-length, seated, 
turned half-way to the right. His grayish-white wavy hair is worn long and his 
keen brown eyes are directed at the spectator. He wears a white stock and 7adot, 
and over his high-collared black coat the Oxford robe of scarlet and bisque. On a 
table before him, covered with a green cloth, is a large leather-bound volume, the 
leaves of which he is turning. White ruffles show at the wrists. The chair, of 
which only a fraction is visible behind his right shoulder, is upholstered in reddish- 
brown brocade and studded with brass-headed nails. The plain background is in 
shades of reddish-brown, lighter around the head. 

The portrait was painted for his son, Robert Charles Johnson, from whom it 
passed to his son, Charles F. Johnson. As the latter was a minor at the death of his 


father, the portrait was left in the family mansion at Stratford, Connecticut, until 
the death of Judge Samuel William Johnson, an older brother of Robert Charles 


444 


DOCTOR WILLIAM SAMUEL JOHNSON 


Johnson. It then went to the rightful heir, who at that time lived at Owego, New 
York. In 1876 Charles F. Johnson went to live with his daughter, Mrs. William 
Bellamy of Boston, and the portrait hung in her house until 1890, when the son of 
Charles F. Johnson, Professor Charles Frederick Johnson, who had inherited it, 
took it to his house in Hartford, Connecticut. In July, 1925, Professor Johnson 
sold the portrait to the Milch Galleries of New York, from whom it was purchased 
by Mrs. Jonathan Bulkley of New York City. 


ExuiBiTEpD at Museum of Fine Arts, Bos- 
ton, 1880. 


ENGRAVED— 

In line and stipple, by A. H. Ritchie, as 
frontispiece to “Life and Times of Wil- 
liam Samuel Johnson,” by Doctor E. 
Edwards Beardsley, 1876. (Revised and 
enlarged edition, 1886.) 

On wood (bust only), for Harper's Weekly, 
1887, Vol. 31, page 286. 


Ertcuep (bust only) by Albert Rosenthal 
for “Federal Convention.” (A reproduc- 
tion of this etching is in John Fiske’s 
“Critical Period of American History,” 
1898, page 247.) 

REPRODUCED— 

From a stipple engraving (oval, bust only), 
in Magazine of American History, April, 
1885, Vol. 13, page 336. 

(Full size), in Bowen’s “Centennial of 
Washington’s Inauguration,” 1892, fac- 
ing page 78. 

Stuart is said to have painted a replica of 
this portrait in 1794 for Doctor Samuel 
Nicol, a nephew of Doctor Johnson. It 
was inherited by Doctor Nicol’s daughter, 
Mrs. George R. Evertson, who, many 
years ago, presented it to Trinity College, 
Hartford, Connecticut. An examination 
of this picture revealed that it has been 
relined and that the stretcher measures 
35x27 inches. In quality it cannot com- 
pare with the portrait described above: 
the modeling of the features is uncertain 


and flat, the eyes are dull, the hair does 
not show Stuart’s brushwork and the jabot 
is crudely done. Should it really be a rep- 
lica by Stuart, then it has been seriously 
tampered with by an incompetent hand. 
Of the copies known to have been painted 
after the original Stuart, one was made by 
a Mr. Graham, and Dunlap in his “His- 
tory of the Rise and Progress of the Arts 
of Design in the United States” relates 
that after the original had been retained 
for a long time, “a copy was at length re- 
turned which deceived the owner, and the 
swindler kept the original.” This latter 
statement is proved incorrect by letters ex- 
changed in August, 1798, between David 
Longworth, a publisher of New York, 
and Doctor Johnson himself. These let- 
ters are printed in “Life and Times of 
William Samuel Johnson,” by Doctor 
E. E. Beardsley, 1876, pages 156-158, 
and it appears that Mr. Longworth was 
instrumental in recovering the original 
Stuart and returning it to Doctor Johnson. 
The copy by Graham was owned in later 
years by a great-great-granddaughter of 
Doctor Johnson, Mrs. Susan E. Johnson, 
of Stratford, Connecticut. A second copy, 
by Fitch, is at Yale University, New 
Haven, Connecticut, and a third, by Sam- 
uel L. Waldo, is at Columbia College, 
New York City. The latter is reproduced 
in half-tone (bust only) in New England 
Magazine, 1890, Vol. 2, page 365. 
Courtesy, Milch Galleries, New York City. 


[ Illustrated | 


445 


C449 ): 


JUDGE STEPHEN JONES 
1738-1826 


UDGE JONES was a son of Stephen and Lydia (Jones) Jones of 

Portland, Maine. His father dying when Stephen was nine years old, 
he led the life of a wanderer for several years, working as a carpenter, 
clerk in his uncle’s store, farmer, etc. In 1772 he married at Deerfield, 
Massachusetts, Miss Barnard, having settled in 1766 in Machias, Maine, 
which was his home until the death of his wife in 1820, when he moved 
to Boston and lived with his daughter, Mrs. John Richards (q.v.) until 
his death. In 1790 he was appointed a Judge of Probate, Chief Justice 
of the Court of Common Pleas, and Clerk of the Sessions. 


Boston, c. 1820. Panel, 29% x20) inches. 

“Tn the collection of upward of one hundred portraits painted by Gilbert Stuart 
exhibited in the Museum of Fine Arts, Boston, in 1880, there was one that shone 
forth as a star of the first magnitude among the lesser lights and reduced their 
wonted brilliancy. It was a head of an old man, with very white hair and remark- 
ably heavy white eyebrows and a fat face of vermilion redness. It was a portrait 
quite as commanding as a head as it was as a picture, and showed that when the 
master’s hand willed, it had lost none of its cunning, for the portrait of Judge 
Stephen Jones is one of Stuart’s later works. Jouett, the Kentucky painter, tells us 
that this canvas was one of Stuart’s favorite heads, and adds: ‘Upon the whole the 
most remarkable face and painting that I have ever seen.’ That Stuart was par- 
ticularly interested in the portrait is shown by the circumstances attending the 
painting of it. Stuart was painting the portrait of Judge Jones’s daughter when the 
judge entered the room where the painter was at work. Struck with the noble and 
venerable presence, Stuart asked who he was, and insisted upon painting his por- 
trait; but the old judge refused, and it was only after Stuart’s repeated and earnest 
solicitations that the request was granted. The result is this living portrait, which 
for brilliant coloring, bold handling, firm modeling, natural pose, and strong 
individuality, must forever stand unsurpassed. It is, too, a noticeable example of 
Stuart’s ability to produce desired results and effects by an unusual method of work. 


4.4.6 


JUDGE STEPHEN JONES 


In this picture there is a much heavier use of pigments than we remember ever to 
have seen in any other of Stuart’s works. The ruddy richness of the complexion; 
the fullness of the cheek; the transparency of the thin white hair; the firmness of 
the lips, compressed by the loss of their natural support, the teeth; the bushy, over- 
hanging eyebrows; the keen, eager expression of the eyes, all apparently so simple 
that the great wonderment is that Stuart should stand so wholly alone in his 
unrivaled art. The massive head is enough, and yet the setting of that head cannot 
be missed. A black coat, with a dark sable fur collar, and a white neckerchief — 
that is all, but it is all-sufficient.”” (Charles Henry Hart in Century Magazine, 
November, 1904.) 

The portrait was inherited by his daughter, Mrs. John Richards (1783-1870) 
of Gardiner, Maine, and then by her son, Francis Gardiner Richards (1833-1884), 
at whose death it passed to his widow, who, in 1901, took it to England. At her 
death, in 1909, it became the property of the present owner, her son, Francis 


Ashburner Richards, Esq., of Eversley, Hants, England. 


ExHIBITED at Museum of Fine Arts, Bos- ENGRAVED— 
ton, in 1880. On wood, by W. J. Linton, 1880. 
On wood, by Henry Wolf, for the Century 
Magazine, November, 1904. 


[ Zllustrated | 


(CA50°)« _ 
MRS. JONES 


Mason lists this name, without giving particulars. 


447 


(C451 ) 


MATTHEW HARRIS JOUETT 
L7 Oe OO 


HE second son of Captain John and Sallie (Robards) Jouett of 
Mercer County, Kentucky. Educated at Transylvania University 
in Lexington, Kentucky, he became a lawyer in that city, but in his 
leisure hours took up painting and became the foremost portraitist of his 
state. In 1812 he married Margaret Allen of Fayette County, Kentucky, 
and they had nine children. Although he died at the age of forty, about 


three hundred portraits from his brush are known. 


Jouett was a pupil of Gilbert Stuart in 1817, and in General Samuel Woodson 
Price’s “The Old Masters of the Bluegrass,” Louisville, 1902, we read on page 
23: “His (Jouett’s) preceptor made a study of his pupil for a portrait, and when 
his picture was done presented it to him. As he could not carry it on his horse 
without injury, he left it with a business firm in Boston to be sent to him at the 
earliest opportunity, and when transportation was established the picture could not 
be found, although diligent search had been made.” 


"C452 ): 


OLIVER DE LANCEY KANE 
Born 1767 


LIVER De LANCEY KANE, third son of John and Sybil 

(Kent) Kane, was born at Fredericksburg, New York. He re- 

sided in Albany and New York City, and married Anna Eliza Clark 
(q.v.) of Providence, Rhode Island. 

Philadelphia, c. 1802. Panel, 28x22 inches. Bust, half-way to the left, 


with his blue eyes directed to the spectator. His complexion is ruddy and his dark 
brown hair and short sidewhiskers are curly. He wears a black coat and white waist- 


448 


OLIVER DE LANCEY KANE 


coat, a white standing collar, neckcloth, bow tie, and finely pleated ruffled shirt. 
Two-thirds of the background are dark red, and the last third, at the right, is 
greenish-brown. 

This portrait, as well as that of Mrs. Oliver De Lancey Kane, came down 
through inheritance to the present owners, the Misses Louise Langdon Kane and 


. Sybil Kent Kane of New York City. 


ENncRAVED— 

By C. B. Hall for “Historic Families of This portrait had not come to the attention 
America,” by W. W. Spooner, 1907, Vol. of Lawrence Park: 
I, facing page 198. 

Not listed in Mason. THEODORE BoLTon 

Courtesy, Frick Art Reference Library, New Joun Hitt Morcan 
York City. WILLIAM SAWITZKY 


[ Zllustrated | 


e530): 


MRS. OLIVER DELANCEY KANE 


NNA ELIZA CLARK, daughter of John Innes and Lydia (Bowen) 
Clark of Providence, Rhode Island. She married Oliver DeLancey 
Kane (q.v.) of Albany and New York City. 


Philadelphia, c. 1802. Panel, 28 x 221 inches. Bust portrait, turned half-way 
to the right. The head alone is finished. The light brown hair lies very softly in 
curls on her forehead and the light hazel eyes are directed towards the spectator. A 
white lacy dress with a standing and ruffled white collar is very sketchily treated, 
while a red scarf is indicated. The background is of a grayish-brown tone with the 
suggestion of a drapery. 

This portrait, as well as the preceding one, came down through inheritance to 
the present owners, the Misses Louise Langdon Kane and Sybil Kent Kane of New 


York City. 


Not listed in Mason. This portrait had not come to the attention 
Courtesy, Frick Art Reference Library, New of Lawrence Park. 
York City. THEODORE BoLTon 
Joun Hitt Morcan 
[Tilustrated| WILLIAM SAWITZKY 


449 


in Sek 


JOHN PHILIP KEMBLE 


L757 71023 

RAGIC ACTOR; son of Roger and Sarah (Ward) Kemble; and 

brother of Charles Kemble and Mrs. Sarah Siddons (q.v.). He 
was educated at the English Catholic College at Douai, where Talma 
was his fellow-student. After appearing with much success in an 
English itinerant company, he founded his fame as a great tragedian by 
his appearance at Drury Lane as “Hamlet” in 1783. He became man- 
ager of Drury Lane; made a Continental tour to study the French and 
Spanish theatres; was manager of Covent Garden from 1802 to 1808; 
wrote the tragedy ‘‘Belisarius” and the opera “Lodoiska” and adapted 
many old dramas to the modern stage. Retired in 1817, went to the 
Continent for his health and died in Lausanne. 

London, c.1785. Canvas, 292x24™% inches. Standing, showing to hips, 
three-quarters to the right, with arms crossed in front. He wears a dark, high- 
collared coat, a white neckcloth and a frilled shirt showing ruffles also at the wrists. 
His wig is powdered and tied with a queue bow. The background is dark. 

This portrait was owned in 1797 by Francis Twiss, who married Kemble’s 
sister Fanny. In 1808, at a sale of anonymous properties at Christie’s, London 
(lot 54.), it was described as “Stuart—Portrait of John Kemble, Esq.; an admir- 


able likeness and finely painted.” It was bought for 19) guineas. In 1858 it was 
presented by John Thaddeus Delane to the National Portrait Gallery, London 


(No. 49). 


ENnGRAVED— In stipple, reversed, 34 x23 inches, 
In stipple, reversed, and in octagon shape, anonymously, in Smeeton’s“T he Unique,” 
3%2x3 inches, by Ridley, for The 1824. 
Monthly Mirror, 1797. 
In mezzotint, 63@ x 53 inches, by E. Pin- REPRODUCED, in half-tone, in “Historical 
kerton. Portraits,” by Henry B. Wheatley, 1898. 
[ Zllustrated | 


450 e 


eto): 


JOHN PHILIP KEMBLE 
I Lh asia eee 


N the character of “Richard III.” 


London, c. 1785. Canvas, 29 x 24 inches. A bust portrait, showing him turned 
to the right and wearing a red cloak with star. 
This portrait was owned in 1868 by Sir Henry Halford, Bart. 


ExuiBITep at the Third Exhibition of Na- 
tional Portraits, South Kensington Muse- 
um, London, 1868, No. 82. 


ENGRAVED— 

In line, oval in rectangular, showing him 
whole length, standing, by Thornthwaite, 
for Bell’s“British Theatre,” 1786; 32 x 
2% inches. 

In mezzotint, rectangular, reversed, by 
George Keating, and published by J. & J. 
Boydell; 1014 x 734 inches. Two states. 
(The engraving says: “From a portrait in 


possession of John Sybus.”) (J. Chaloner 
Smith, 5.) 

In stipple, oval, by H.H. Houston, and pub- 
lished by Freeman & Co., Philadelphia, 
1796; 4.2 x 3.7 inches. (Stauffer, 1460.) 

In stipple, rectangular, by H. Meyer, for 
“The Cabinet,” and published by Ma- 
thews & Leigh, 1808; 514 x 34% inches. 

Not listed in Mason. 

Listed in Strickland. 

A copy, 21 x 16 inches, was painted in 1867 
by Thomas Sully, and was owned in 1921 
by A. T. Bay, Esq., of New York. 


C456 ) 


JOHN PHILIP KEMBLE 
] ) L757 bol 
N the character of “Orestes.” 


“On the 19th of January, 1779, he acted on the New York stage the character 
of Orestes, a part to which he was long attached; the scene where his imagination 
suggests to him the persecution of the Furies was at all times one of his greatest 
efforts. The artist called American Stuart subsequently painted him in this char- 
acter; it is a head and conveys the madness with perfect identity of expression. It 
affords a fine opportunity of ascertaining the change which time brought upon his 
features and is still (1825) I believe in the possession of his friend the Reverend 
C. Este.” (Boaden’s Life of Kemble, page 13.) 


Not listed in Mason. 


451 


C57 
MRS. JOHN PHILIP KEMBLE 


According to Mason, Mrs. Kemble sat to Stuart several times and in various 
characters. 


C458 ): 


MICHAEL KEPPELE 
771-152 1 


ICHAEL KEPPELE was for many years president of the 
German Society in Philadelphia, and in 1811 he was elected 
mayor of that city for one term. He was a handsome man and there is a 
family tradition that Stuart used his fine and upstanding figure as a 
model for his whole-length portrait of Washington. He married Cath- 
erine Caldwell (q.v.). 
Philadelphia, c. 1800. Canvas, c.29 x24 inches. He has grayish-blue eyes, fair 
complexion and powdered hair. 
His portrait was inherited by his daughter, Mrs. Catherine Keppele Biddle, who 
left it to her daughter, Mrs. William ‘Tatham, and she in turn bequeathed it to her 


niece, Mrs. Bayard Kane of Fern Hill Farm, West Chester, Pennsylvania, the 
present owner. 


Gao e: 


MRS. MICHAEL KEPPELE 
1774-1862 


ATHERINE CALDWELL, who married Michael Keppele 
(q.v.) and survived him for nearly half a century. 


452 


MRS. MICHAEL KEPPELE 


Philadelphia, c. 1800. Canvas (s), 28 x 23 inches. She is shown at half-length, 
seated, and turned half-way to the left, with her large brown eyes directed toward 
the spectator. Her brown hair is parted in the middle and worn in ringlets over her 
ears. She wears a simple low-necked dress and over her head is draped a grayish- 
drab shawl which completely covers her shoulders and left arm and which is held 
at her right shoulder by her right hand. The outlines of a chair are barely visible 
behind her right shoulder. The background is plain and very dark. 

Mr. Cadwalader Biddle, a grandson of Mrs. Keppele, in a letter to the late 
Charles Henry Hart, wrote: “‘A friend of my grandmother borrowed her portrait 
in order that a young artist might be benefited by its study. It was removed for that 
purpose to his studio. Shortly afterwards the family were asked if they knew that 
the artist had removed a great part of the picture and, upon going, found that he 
had painted out all but the face and hands. When Sully was asked to replace the 
portion removed, he at first refused . . . but upon reflection, and seeing that the 
portrait was ruined as it stood, relented, and agreed to do so.” 

Her portrait was inherited by her daughter, Mrs. Anne Keppele Williams, who 
left it to her son, and he in turn bequeathed it to his daughter, Mrs. John K. 
Mitchell of Philadelphia, Pennsylvania, the present owner, who is a sister of 
Mrs. Bayard Kane, owner of the portrait of ““Michael Keppele.” 


( 460 )s 
RUFUS KING 


1755-1827 
HE eldest son of Richard King, a merchant of Scarborough, 
Maine, and his first wife, Isabella Bragdon. He graduated from 
Harvard University in 1777 and after that studied law with Theophilus 
Parsons (q.v.). In 1778 he became aide to General Sullivan on his expe- 
dition to Rhode Island. In 1783 he was sent to the general court of 
Massachusetts, and in 1785 and 1786 wasa delegate to the old congress, 


453 


then sitting at Trenton, New Jersey. He was a member of Congress in 
1787; United States senator, 1789-1796; minister to England, 1796- 
1804; United States senator, 1813-1825; minister to England, 1825- 
1826. In 1786 he married Mary Alsop (1769-1819), only daughter of 
John Alsop, a merchant and a member of the Continental Congress from 
New York. They lived in Jamaica, Long Island, New York. 


Boston, 1820. Panel, 30x 2434 inches. Shown at half-length, turned half- 
way to the left, with his dark brown eyes directed toward the spectator. He is seated 
in a carved armchair, upholstered in red. In front of him is a table, covered with a 
red cloth on which lie some papers, one of which he is holding in his left hand. 
His right hand does not show. He is bald on top of his head and his curly brown 
hair is brushed toward his temples from the back. He wears a black coat, white 
neckcloth and ruffled shirt. The background is a mixture of buff and green. 

This portrait was delivered by Stuart in March, 1820, to Rufus King’s close 
personal friend, Christopher Gore, who sent it to Mr. King. The latter sent it to 
his son, James Gore King (1791-1853), then living as a banker in Liverpool, 
England. After his return to the United States he lived at Highwood, Wee- 
hawken, New Jersey, and at his death the portrait was inherited by his son, 
Archibald Gracie King (1821-1897) of New York, who left it to his widow, 
Elizabeth Duer King (1821-1900), who in turn bequeathed it to her son, 
Frederick Gore King, Esq., of New York City, the present owner. 


ENGRAVED, on wood, for Harper’s New Monthly Magazine, May, 1884, Vol. 68, page 942. 


| Zllustrated | 


( 461 )s 
RUFUS KING 


1755 boy 


Boston, 1820. Panel. A replica of the preceding picture. Mr. Rufus King left 
it by will to his grandson, Rufus King (1817-1891 ), who sold it in 1881 to John 
Alsop King of Great Neck, Long Island (1816-1900). The daughters of John 


454 


Alsop King presented it to their brother-in-law, Gherardi Davis, Esq., of New 
York City, the present owner. 


EXHIBITED at the Centennial Celebration of REPRODUCED— 
Washington’s Inauguration, New York, In Bowen’s “Centennial of Washington’s 
1889, No. 132. Inauguration,” 1892, facing page 121. 
In artotype (partly cut off at the left), in 
ENGRAVED, in line, by Thomas Kelly, for “The Life and Correspondence of Rufus 
Longacre & Herring’s “National Portrait King,” edited by his grandson, Charles R. 
Gallery of Distinguished Americans,” King, M.D., 1894-1900, Vol. IV, fron- 
fe70, Vol. I, plate 25; 4.7 x 3.7 inches. tispiece. 
(Stauffer, 1610.) Not listed in Mason. 


C462 ): 


RUFUS KING 
Tie Rin 0207 


Boston, c. 1820. Canvas, 36x 2934 inches. Another, somewhat larger, replica. 

In the possession of Frederick Lennig, Esq., of Andalusia, Bucks County, Penn- 
sylvania, who inherited it from his grandfather, Doctor Charles R. King, who 
was a grandson of Rufus King. 


Not listed in Mason. THEODORE BOLTON 
This portrait had not come to the attention Joun Hitt Morcan 
of Lawrence Park. WILLIAM SAwiTzkKY 

[ Zllustrated | 


(463 
WILLIAM KING 
1768-1852 


ILLIAM KING was the seventh child and third son of Richard 
King of Scarborough, Maine, by his second wife Mary, daughter 
of Samuel Black of York. He was a brother of Cyrus King and a half- 


455 


WILLIAM KING 


brother of Rufus King (q.v). His early life was spent in the lumber- 
mills of Saco and Topsham, Maine. In 1800 he removed to Bath, Maine, 
where he resided until the end of his life. He became a wealthy merchant 
and one of the largest ship owners in the United States. Since 1795 he 
was active in politics, holding various offices, and when Maine was made 
a separate state, March 15, 1820, William King was appointed Governor 
and remained in ofhce during 1820 and 1821. In 1802 he married Ann 
Frazier (q.v.) of Scarborough, and one son was born to them. William 
King is Maine’s representative among the national statuary in Wash- 
ington, District of Columbia. 

Boston, c. 1806. Canvas, c. 30x 25 inches. He is shown half-length, three-quar- 
ters to the right, with his brown eyes surmounted by thick, bushy eyebrows, directed 
to the spectator. His hair and short sidewhiskers are brown and curly; his com- 
plexion fresh. He wears a black coat, white neckcloth tied in a bow, and a ruffled 
shirt. The background is of plain grayish tones. 

This portrait, and the portrait of Mrs. William King, have been continuously 
in the family. They were purchased recently from William King of Brunswick, 


Maine, a grandson of Governor King, by the present owner, W. K. Richardson, 
Esq., of Boston, a great-grandnephew of Governor King. 


ReEpropucep in “Maine History of Genea- Not listed in Mason. 
logical Records,” 1884, Vol. I, page 1. Listed in Fielding, No. 75. 
[ Zllustrated | 


C464 


MRS. WILLIAM KING 


AY N, daughter of Major Frazier of Scarborough, Maine. In 1802 
she married William King (q.v.), first Governor of Maine. 


Boston, c. 1806, Canvas, c. 30x25 inches. Half-length, turned three-quarters to 
the left, with her blue eyes directed to the spectator. Her complexion is exquisitely 


456 


MRS. WILLIAM KING 


fair. Her hair is dressed high with curls on her forehead and in front of her ears. 
She wears a black silk dress cut low and edged with a narrow white ruching. The 
neck is filled in with white tulle, painted with such transparency that the delicate 
flesh tints shimmer through it. The background is of plain gray tones. 

The present owner of this portrait is W. K. Richardson, Esq., of Boston. Its 
history is the same as that of the portrait of Governor William King by Stuart. 


Not listed in Mason. Listed in Fielding, No. 76. 


[ 2lustrated | 


‘C465 ): 


REVEREND 
JOHN THORNTON KIRKLAND 


1770-1840 


OHN THORNTON KIRKLAND was a son of Samuel and 

Jerusha (Bingham) Kirkland of Herkimer, New York. He was 
graduated from Harvard College in 1789, and was President of Harvard 
College from 1810 to 1828. In 1827 he married Elizabeth Cabot 
(1785-1852), daughter of the Honorable George and Elizabeth 
(Higginson) Cabot of Salem and Boston. 


Boston, 1816. Panel, 32x25 inches. Half-length, seated in an armchair up- 
holstered in red, turned three-quarters to the left, with his hazel eyes directed to 
the spectator. His reddish hair is rather sparse on the top of his head. He wears his 
presidential robes, consisting of a clergyman’s gown and bands. With his left hand 
he holds a Bible, bound in black, to his side. The ornamental background consists 
of a parapet with two columns, a crimson curtain looped back with gold cord and 
tassels waving in the breeze and a cloud-flecked sky in the distance. 

Doctor Kirkland bequeathed his portrait to his widow with the further desire 
that at her death it should go to his nephew, the Reverend Doctor Samuel Kirkland 
Lothrop. At the death of Mrs. Kirkland, twelve years after her husband’s death, 


457 


REVEREND JOHN THORNTON KIRKLAND 


the portrait thereupon passed to the Reverend Doctor Lothrop. He bequeathed it 
to his son, Thornton Kirkland Lothrop, who left it to his widow, the present owner, 
Mrs. Anne M. Lothrop of Boston. 


Exu1BiTepDat the exhibition of Stuart’s por- land Magazine, 1891, Vol. 5, page 282, 
traits, Boston, 1828, No. 108. by “Pendleton’s Lithogy Boston.” “Rev. 
ENGRAVED, on wood, by Kilburn for “Win- John T. Kirkland, D.D., LL.D. Late 
sor’s Memorial History of Boston,” 1881, President of Harvard University.” 
Vol. 4, page 297. A copy of this portrait is in Memorial Hall, 
LITHOGRAPHED, vignette, for New Eng- Cambridge, Massachusetts. 
[ Illustrated | 


‘C466 ) 
SIR WILLIAM KIRKPATRICK 


Canvas, 29 x 24 inches. He is shown bust, three-quarters left, with his blue eyes 
directed to the spectator. His complexion is florid, and his short hair powdered. He 
wears a white neckcloth and ruffled shirt, and a dark blue high-collared coat with 
large brass buttons. The plain background is of brown, becoming lighter in tone 
around the head. 

The portrait was willed, over fifty years ago, by Major Jonathan Kearsley to his 
grandson, Jonathan Kearsley Webster, and at his death it became the property of 
his widow, who lives at Grosse Ile, Michigan. 


EXHIBITED at the Detroit Institute of Art, Not listed in Mason. 
Detroit, Michigan, 1922. 
: [ Zllustrated | 


C467 ) 
CHARLES KNAPP 
1785-1859 
yoNe of Josiah Knapp of Boston. He was a sea captain, but much 


interested in art and a warm personal friend of Gilbert Stuart and 


Washington Allston (q.v.). 


4.58 


CHARLES KNAPP 


Boston. Panel, 27 x 21% inches. Bust portrait, turned half-way to the left. He 
has light blue eyes, golden-brown, waving, curly hair and short sidewhiskers, and 
he wears a very dark blue coat with brass buttons, and a white neckcloth tied in a 
bow tie. The edge of his buff waistcoat shows at the neck. The plain background 
is of an even medium gray. 

His portrait was bequeathed in 1889 by his niece, Mrs. Ellen Marett Gifford, 
of New Haven, Connecticut, to the Yale School of Fine Arts, Yale University. 


ExuIBITED at the exhibition of Stuart’s portraits, Boston, 1828, No. 82. 


[ Zllustrated | 


‘(468 ): 


GENERAL HENRY KNOX 
1750-1806 


ENERAL KNOX was the seventh son of William and Mary 

(Campbell) Knox, and in 1774 he married Miss Flucker of 
Boston. He became a distinguished soldier and a constant companion 
of George Washington throughout the war, and his personal friend and 
counsellor. In 1785 he was elected Secretary of War by Congress, and 
upon the formation of the United States Government he was continued 
in office. He was one of the founders of the Society of the Cincinnati in 
1783. 

Boston, c. 1810. Panel, 4638 x 38% inches. He is shown a little over half- 
length, standing, turned half to the right, with his blue eyes directed to the spec- 
tator. His hair is white and complexion very ruddy. He wears a general’s uniform: 
the coat dark blue lined with buff, with buff lapels, collar and cuffs, and gold 
buttons and epaulettes; a buff-colored waistcoat and buff breeches. His right 


hand, placed on his hip, holds back the coat, while his left hand rests on a cannon. 
The background is of brown tones, with grayish-brown clouds on the right. In 


459 


“Life and Correspondence of Henry Knox,” by Francis S. Drake, printed in the 
Maine Historical Society Collections, new series, January, 1890, the following is 
recorded: ‘While on a gunning excursion among the islands of Boston Harbor 
(24th July, 1773) he (Knox) lost by the bursting of his fowling-piece the two 
smaller fingers of his left hand—a defect he was accustomed to cover up by the 
folds of a handkerchief, and which in Stuart’s half-length portrait in Faneuil 
Hall is skilfully concealed by resting the hand on a cannon.” 

This portrait was presented to the City of Boston and hung for some time in 
Faneuil Hall, but since the 29th of November, 1876, it has been lent to the 


Museum of Fine Arts, Boston. 


Exu1BiTepat the exhibition of Stuart’s por- 
traits, Boston, 1828, No. 70. 


ENGRAVED— 

(Vignette head) in stipple, by David Ed- 
win, in “The Portfolio,” 1812, page 101. 

In stipple, by E. Prud’homme, 1834, in 
“National Portrait Gallery,” 1835, Vol. 2. 
4.7 X 3.10 inches. Two states (Stauffer, 
2585). 

On wood, by Tinkey, in Harpers Maga- 
zine, 1879, Vol. 59, page 823. 


REPRODUCED— 

In photogravure, in Mason’s “Life and 
Works of Gilbert Stuart,” 1879, facing 
page 211. 


In Bowen’s “Centennial of Washington’s 
Inauguration,” 1892, facing page 28. 

In half-tone, in Samuel Isham’s “History 
of American Painting,” 1910, page 87. 
In half-tone, in M. C. Crawford’s “Social 
Life in Old New England,” 1914, facing 

page 327. 

Copy (bust), probably by Jane Stuart, orig- 
inally owned by Benjamin Bussey (1757- 
1842) of Boston, is owned by Mrs. John 
Pleasant Hollingsworth of Philadelphia. 
A copy, by Albert Gallatin Hoyt, is at 
Bowdoin College, Brunswick, Maine. 
There are also copies in the State House, 
Augusta, Maine, and in Faneuil Hall, 
Boston. 


| Zllustrated | 


‘C469 )- 


GENERAL HENRY KNOX 
1750-1806 


It is claimed that this unfinished miniature, the whereabouts of which is 
unknown to the author, was painted by Gilbert Stuart as an object lesson for Miss 
Sarah Goodridge (1788-1853), who painted a miniature portrait of Stuart. 


| Zllustrated | 


( 470 ) 
JOHN LANGDON 

Talal} 1.0 
A SUCCESSFUL merchant of Portsmouth, New Hampshire. He 
gave all his money, pledged his plate and subscribed proceeds 
from sale of seventy hogsheads of tobacco to equip the brigade with 
which General John Stark subsequently defeated the Hessians at Ben- 
nington, at which battle he, Langdon, was present. Delegate to Conti- 
nental Congress in 1775-76; Speaker of New Hampshire Assembly, 
Governor of New Hampshire in 1788; United States Senator from 1789 
to 1801; Governor of New Hampshire (with exception of two years) 

from 1805 to 1812. 


The portrait is in possession of Mrs. Woodbury Langdon of Portsmouth, New 
Hampshire. 


Not listed in Mason. 


( A471 )s 


JOHN LARDNER 
Igoe TiS OS 
| am LARDNER was the son of Lynford Lardner, who was the 
younger brother of Hannah Penn. He joined the First City ‘Troop, 
October, 1775, and took part in the battles of Trenton, Princeton, 
Brandywine and Germantown. He was Cornet 1779-1783, and 1794 - 
1796, and was a member of the Pennsylvania Legislature in 1791. 


Philadelphia, 1803. Panel, 29x24 inches. He is shown bust, turned half-way 
to the right, with his eyes directed to the spectator. He wears a high-collared 


461 


JOHN LARDNER 


dark coat, a white neckcloth and white tie. His sparse hair is white. The back- 
ground is plain. 

This portrait was owned in 1879 by J. L. Lardner of Philadelphia; in 1887 it 
was owned by Miss E. L. Reakirt; it is now in the possession of Mrs. Edwin L. 
Reakirt (née Margaret Lardner) of Philadelphia. 


ExHIBITED at the “Loan Exhibition of His- I, 1887, to January 15, 1888. 
torical Portraits” held at the Pennsylva- Not listed in Mason. 
nia Academy of the Fine Arts, December Listed in Fielding, No. 77. 


[ Zllustrated | 


( 472 )s 


REVEREND JOHN LATHROP 
1740-1816 


SON of William Lathrop. He was graduated from the College 
A of New Jersey (Princeton) in 1763 and ordained pastor of the 
Old North Church, Boston, in 1768. He married in 1780 Elizabeth 
(Checkley) Sayer. 


The engraving by Wagstaff and Andrews shows him at half-length, turned 
three-quarters to the left, with his eyes directed to the spectator’s left. He wears 
a white wig which comes down to his neck, completely covering his ears. He is 
dressed in a clerical coat of black, with white bands. The background shows a 
panelled wall at the right, a curtain, the base of an architectural column and a 
cloudy sky at the left. 

This portrait was inherited by his daughter Anna (1785-1865), wife of 
Thomas Motley. At her death it was inherited by her son, the Honorable John 
Lathrop Motley, the historian (1814-1877), and then passed to his daughter 
Mary, wife of Algernon Brinsley Sheridan of Frampton Court, near Dorchester, 
Wiltshire, England. 


ExuiBiTepat the exhibition of Stuart’s por- ENGRAVED, in line and stipple, by C. E. 
traits, Boston, 1828, No. 92. Wagstaff and J. Andrews. 


462 


et 70)" 
THOMAS B. LAW 
1750-1834 

HOMAS B. LAW was the son of the Right Reverend Edmund 

Law, Lord Bishop of Carlisle, Lancashire, England, anda younger 
brother of Edmund, first Baron Ellenborough. He entered the East 
Indies service in 1773 and after a distinguished career in India he re- 
turned in 1791 to England. In 1793 he came to America, as he said, for 
three reasons: because he considered he had been unjustly treated by 
the East India Company, because he disapproved of the war in which 
England was then engaged against France, and because of his great 
admiration for the character of Washington and interest in his efforts to 
establish a national capital. He invested very largely in Washington real 
estate and for forty years, in spite of personal eccentricities, was one of 
the infant capital’s most prominent citizens anda leader of its intellectual 
life. By his first wite he had three sons, born in India, who all pre- 
deceased him. In 1796 he married, for his second wife, Elizabeth Parke 
Custis (q.v.), granddaughter of Martha Washington. 


Philadelphia, c. 1800. Canvas, 29x24 inches. Bust, three-quarters left, with 
blue eyes directed to the spectator. His powdered hair is brushed back from his 
forehead and temples. He wears a blue coat with pink satin lining, a white neck- 
cloth and ruffled shirt. Plain dark background. 

This portrait, as well as the portrait of Mrs. Thomas B. Law, were owned in 
1880 by Mrs. George Goldsborough of Talbot County, Maryland, a grand- 
daughter of the subjects. In 1916, they were purchased from M. Knoedler & 
Co., New York, by the present owner, Herbert Lee Pratt, Esq., of New York City 
and Glen Cove, Long Island. 


EXxHIBITED— REPRODUCED— 
At the Exhibition of Early American Paint- In half-tone, in catalogue of the Brooklyn 

ings, Brooklyn Museum, February 3 to Exhibition, 1917, facing page 86. 

March 12, 1917, No. 94. In half-tone, in Arts and Decoration, Sep- 
At Exhibition of Early American Portraits, tember, 1917. 

Carnegie Institute, Pittsburgh, January Not listed in Mason. 

20 to March 8, 1925 (28). Listed in Fielding. 

[ Z2lustrated | 


463 


Gaya 


MRS. THOMAS B. LAW 
1776-1822 


LIZABETH PARKE CUSTIS, a daughter of John Parke and 
E Eleanor (Calvert) Custis of Abingdon, near Alexandria, Virginia, 
was the eldest grandchild of Martha Washington, and a sister of Eleanor 
Parke Custis, afterwards Mrs. Lawrence Lewis (q.v.). She married 
when she was twenty Thomas B. Law (q.v.), double her age. They 
separated in a few years and subsequently were divorced. She is reported 
to have been of a dominating character and hot temper. 


Philadelphia, c.1796. Canvas, 29x24 inches. Half-length, standing three- 
quarters to the right, with her arms crossed, gazing haughtily towards the spec- 
tator with her brown eyes. Her soft brown, naturally curly hair is simply dressed 
with curls at the nape of the neck. Her greenish-brown dress is trimmed at the 
neck with a white silk scarf which, following the line of the dress, is tied in front. 
In her left hand, which is tucked under her right arm, she holds a yellow straw hat 
trimmed with scarlet ribbon. “The head and background of this portrait are 
superbly painted by Stuart, the landscape being extremely fine, but the body and 
accessories are treated in a very unusual manner for the great master, both in color- 
ing and handling. The tradition that has been handed down with this portrait is 
that it was painted in Philadelphia in February, 1796, shortly before the subject’s 
marriage. That while Stuart was painting Washington she entered the room, 
coming from a walk, and stood with arms folded regarding the artist at work, 
which pose Stuart caught and subsequently painted the portrait as he had seen her 
that day.” (Extract from Herbert L. Pratt Catalogue, 1917, pages 37-38, by the 
late Charles H. Hart.) 

This portrait is owned by Herbert Lee Pratt, Esq., of New York City and Glen 
Cove, Long Island; its history is the same as that of Stuart’s portrait of Thomas 
B. Law. 


ExuIsiTep at the exhibition of Early Amer- ENGRAVED on wood (vignette, head and 
ican Paintings, at the Brooklyn Museum, shoulders only) by R. G. Tietze for Cen- 
February 3 to March 12, 1917, No. 95. tury Magazine, April, 1897, Vol. 31, page 

806. 


404 


MRS. THOMAS B. LAW 


REPRODUCED— In half-tone, in Arts and Decoration, Sep- 
In half-tone, in “Salons Colonial and Re- tember, 1917. 
publican” by Anne H. Wharton, 1900, A copy, by Anna Claypoole Peale, is owned 
page 174. by a great-granddaughter of the subject, 
In half-tone, in A. C. Clark’s “Life and Mrs. Wilfred P. Mustard of Baltimore, 
Letters of Dolly Madison,” 1914, facing Maryland. It was engraved on wood by 
page 88. H. Velten for the Century Magazine, 
In half-tone, in catalogue of the Brooklyn May, 1890, Vol. 18, page 24. 


Exhibition, 1917, facing page 87. 
[ Illustrated | 


Cio: 


AUGUSTINE HICKS LAWRENCE 
1770-1828 


E was a son of Augustus and Joanna Lawrence of New York. 
He was a merchant at 118 Pearl Street, New York, in 1796, and 
was elected Alderman in 1811. He married Eloise Lawrence Bogert 


(1799-1880). 

Boston, c. 1812 to 1815. Canvas, 33x26 inches. He is shown seated, three- 
quarters left, in an armchair upholstered in red, at a table, covered with a red cloth, 
on which is an inkstand into which a quill-pen is thrust. His brown eyes are di- 
rected to the spectator. His hair is powdered and his complexion ruddy. He wears a 
black coat, white neckcloth and ruffle. His left hand holds an open letter. The 
background is of neutral color with a pilaster at the extreme left. 

The picture was inherited by his daughter, Augusta Eloise, who married in 
1852 Josiah Salisbury Breese (1812-1856), then passed to their daughter, Eloise 
Lawrence Breese (1856-1921), wife of Adam Gordon Norrie, who bequeathed 
it to the New York Historical Society. 


ExuIBITEp at a “Loan Collection of Paint- REPRODUCED, in half-tone, in Quarterly 
ings by Early American Artists” held at Bulletin of New York Historical Society, 
the Metropolitan Museum of Art, New October, 1921, page 83. 

York, November, 1895, to May, 1896, Not listed in Mason. 
No. 161. 
[Zllustrated | 


465 


C476 


CAPTAIN JAMES LAWRENCE 
1781-1813 


APTAIN JAMES LAWRENCE was born in Burlington, New 

Jersey. He received an appointment as midshipman in 1798 and 
was made acting-lieutenant in two years, but did not receive his com- 
mission until 1802. He distinguished himself while commanding a 
gunboat in the war with Tripoli, also as second in command of 
Decatur’s daring expedition to destroy the captured frigate ‘Phila- 
delphia’ under the walls of Tripoli. Promoted to captain in 1811, he 
was given the command of the ‘Hornet.’ After his encounter with the 
brig-of-war ‘Peacock’ off Demerara he was given the command of the 
‘Chesapeake.’ On June 1, 1813, about thirty miles off Boston, he had 
a combat with the British frigate ‘Shannon.’ After a few broadsides the 
‘Chesapeake’ fouled her opponent; Lawrence fell mortally wounded 
and nearly every officer with him was soon shot down. He died five days 
later. Both ships were taken to Halifax, where Lawrence was buried 
with full military honors. Later on his body was restored to the United 
States and received with public honors at Salem, Massachusetts, where 
Judge Joseph Story (q.v.) delivered an oration. Finally he was brought 
to New York and buried in Trinity churchyard. A monument now 


marks the spot. 


Boston, c. 1812. Panel, 28 x 22% inches. He is shown bust, three-quarters left, 
with his blue eyes directed to the spectator. His hair and sidewhiskers are brown 
and his complexion ruddy. He wears a black naval uniform with gold braid on his 
high standing collar and lapels, and gold buttons and right epaulette—there is no 
left epaulette—a white standing collar, black stock, and white shirt rufle. The 
background is a grayish-blue sky with brown clouds. 

The portrait was bequeathed to the New Jersey Historical Society by the last 


466 


will of Mrs. Mary Lawrence Redmont of Newport, Rhode Island, granddaughter 
of the subject, and accepted by the Society at a meeting in Trenton, New Jersey, in 


January, 1888. 


ENncRAVED— In stipple, by William Rollinson, in 1813, 
In stipple, by David Edwin, in 1813, 4.14 x 3.11 x 2.15 inches, Two states. (Stauffer, 
3.14 inches. Two states. (Stauffer, 802.) 2713.) 
Pmiscppic, by W. >. Leney, in 1813, §.1 x Repropucep in The Outlook, 1902, Vol. 
4.1 inches. Two states. (Stauffer, 1800.) 70, page 331. 
[ Zllustrated | 


AG Moe 


CAPTAIN JAMES LAWRENCE 
I781-1813 


Boston, c. 1812. Canvas, 25x20 inches. In this portrait only the head is fin- 
ished, turned half-way to the left, with blue eyes directed at the spectator. His 
thick and wavy hair is auburn. The white neckcloth and black coat are sketchily 
brushed in with a few strokes and the color of the only partly painted background 
is gray. 

This portrait came to the Washington Association of New Jersey in 1915 asa 
legacy from Miss Mary Blachley Knight. It hangs at Washington Headquarters 
in Morristown, New Jersey. 


ReEpropucep, in half-tone,in Arts and Dec- Not listed in Mason. 
oration, November, 1922, page 35. Courtesy, Frick Art Reference Library, New 
York City. 
| Zllustrated | 


C478 ): 
MRS. THOMAS LEA 
1756-1827 
HE was Sarah Shippen, one of the three beautiful daughters of Chief 


Justice Edward Shippen (q.v.) and his wife, Margaret Francis. In 
September, 1787, she became the second wife of Thomas Lea, a Phila- 


467 


MRS. THOMAS LEA 


delphia shipping merchant who died in 1793. Her younger sister, 
Margaret, became the second wife of Benedict Arnold. 


Philadelphia, c. 1798. Canvas, 28 x 22 inches. She is shown to the waist, three- 
quarters left. Her wavy hair is golden, her eyes blue, and the flesh tints very soft. 
Her head is brought into relief by a mass of dark brownish-green tree foliage, 
below which appears a gray-blue sky. She wears a low-cut, long-sleeved black 
velvet dress with a net fichu with wide ruffles. Her left shoulder is partly bare and 
about her neck is a chain of gold filigree which hangs across her bosom, and at her 
breast is a miniature of her son Robert, aged six, from a cabinet portrait painted by 
the Swedish artist, Adolph Ulric Wertmuller. 

At Mrs. Lea’s death her portrait passed to her granddaughter, Sarah Lea Lynch 
(1809-1864), who married Nicholas Luquer of Brooklyn, New York, and then 
to their son, Reverend Lea Luquer of Bedford, Westchester County, New York, 
and at his death to his son, Lea McIlvaine Luquer. 


ENGRAVED, on wood, by Henry Wolf, and REpRoDuCED, in half-tone, in Scribner’s 
reproduced in the Century Illustrated Magazine, November, 1922, page 637. 
Magazine, Vol. 58, 1899, page 736. C. S. Bradford, photo., copyright. 

[ Zllustrated | 


g0r, PANY SE 


BENJAMIN LINCOLN LEAR 
Are of Colonel Tobias Lear, private secretary to George Wash- 


ington. 
ExuisBiTep at “Loan Collection of Paint- vember, 1896, No. 200-b, loaned by Mrs. 
ings by Early American Artists,” Metro- Wilson Eyre of Philadelphia. 


politan Museum of Art, New York, No- 


468 


-( 480 ) 
MRS. WILLIAM LE CONTE 
ps aie sister of Doctor John Lawrence (1747-1830). 


Panel, 30x25 inches. Bust, turned to the left. 
Owned in 1888 by Miss Mary H. Penington of West Philadelphia. 


Exu1siTep at Loan Exhibition of Histori- emy of the Fine Arts, Philadelphia, De- 
cal Portraits, held at Pennsylvania Acad- cember 1, 1887, to January 15, 1888. 


( 481 )s 


CHARLES LEE(?) 
1758-1815 


HIS fine portrait of a handsome man of between thirty and forty 
years of age is supposed to represent Charles Lee, a younger 
brother of Major-General Henry Lee (q.v.), and Attorney-General 
during the administrations of Washington and Adams, but it bears no 
resemblance to the engraved portraits of him. In the “Bulletin of the 
Metropolitan Museum of Art” for January, 1925, the suggestion is 
made that “it may well represent the same Charles Ogden of whom 
Saint-Mémin made an engraving in 1789.” In connection with this it 
may be said that there is no Charles Ogden listed in the Dexter catalogue 
of Saint-Mémin’s, only a John Ogden. 
Canvas, 29 x 24 inches. Bust, three-quarters to the left, with his hazel eyes to 


the spectator. His complexion is ruddy. He wears a powdered wig tied with a 
black string queue bow, and sidewhiskers; a dark blue coat, white muslin neck- 


469 


CHARLES LEE (?) 


cloth and tie with flowing ends. A plain background of warm brown at right, 
changing at left to greenish and yellowish browns. 

The portrait was in the possession of Mrs. Charles (Scott) Lee, and at her death 
passed to her daughter, Elizabeth Gordon Lee, wife of the Reverend Abraham 
David Pollock, D.D. (1807-1890) of Warrenton, Virginia. In 1922 the por- 
trait was owned by Charles A. Munn of New York City, and at his death in 1924 
passed into possession of the Metropolitan Museum of Art, New York City. 


REPRODUCED, in half-tone, in Bulletin of the Metropolitan Museum of Art, New York, 


January, 1925, page 19. 
[ Illustrated | 


-( 482 ): 
MRS. CHARLES LEE 


1770-1804 
HE was Anne (Nancy), daughter of Richard Henry Lee and his 
wife, Mrs. Anne (Gaskins) Pinkard of Westmoreland County, Vir- 
ginia. She married in 1789, as his first wife, Judge Charles Lee, brother 
of “Light Horse Harry” Lee, and cousin of Francis Lightfoot Lee, and 
Attorney-General under Washington and Adams. She was a great fa- 
vorite in Philadelphia society. 

Washington, July, 1804. Canvas, 1834x16 inches. Bust, three-quarters left, 
brown eyes to spectator; white muslin cap trimmed with wide ruffles almost en- 
tirely concealing the hair, and tied under chin with grayish-blue narrow ribbon 
which passes over the cap. Two small curls of brown hair show on forehead under 
the cap ruffles. Only the head is finished and it is surrounded by indication of a dark 
brown background. The body is indicated. It is framed with an oval mat, the 
opening of which is 1732 x 14% inches. 


The portrait passed to her husband, and at his death in 181 § to their eldest child, 
Anne Lucinda Lee (1790-1835), wife of General Walter Jones (1776-1861) 


470 


MRS. CHARLES LEE 


of Washington. At General Jones’s death it became the property of their daughter, 
Virginia Collins Jones (1809-1892), wife of Doctor Thomas Miller of Wash- 
ington, and of Morrisworth, near Leesburg, Virginia. Owned in 1922 by Mrs. 
Charles F. Harrison of Leesburg, Virginia. 


REpRoDuCcED, in half-tone, in Scribner’s A finished copy of this portrait by Sully, 
Magazine, November, 1922, Vol. 72, owned by Joseph Packard, Esq., Balti- 
page 367. more, is reproduced in “Lee of Virginia,” 

by Doctor Edward Jennings Lee, 1895. 


[ Zllustrated | 


C483 ): 


MRS. GEORGE GARDNER LEE 
1780-1865 


ANNAH FARNHAM SAWYER, daughter of Doctor Micajah 

and Sybil (Farnham) Sawyer of Newburyport, Massachusetts. 

She married in 1807 George Gardner Lee (1774-1816), son of Thomas 
and Judith (Coleman) Lee. He graduated from Harvard University in 


1792. 


Boston. According to Mason a half-length portrait, painted about’ 1806. 
Owned in 1879 by her granddaughter, Mrs. Charles J. Paine of Boston. 


ExHIBITED— 

At the exhibition of Stuart’s portraits, Bos- At the “Loan Collection of Portraits of 
ton, 1828, No. 139. Women,” at Copley Hall, Boston, March 

At the Museum of Fine Arts, Boston, from II-31, 1895, loaned by Mrs. Charles J. 
April, 1880, until December, 1891, loaned Paine. 


by Mrs. Charles J. Paine. 


471 


C484 ): 
MAJOR-GENERAL HENRY LEE 
1756-1818 


SON of Henry and Lucy (Grymes) Lee of “Leesylvania,” near 
Dumfries, Prince William County, Virginia. He was graduated 
from Princeton in 1773. He was known as “Light Horse Harry,” and 
was a brother of Charles Lee. He married, first, in 1782, his cousin, 
Matilda Lee (d. 1790), and, second, in 1793, Anne Hill Carter (1773- 
1829) of “Shirley,” on the James River. He took an active part in the 
Revolution and was Governor of Virginia. It was he, in speaking of 
Washington, who first used the expression: “First in war, first in peace, 
first in the hearts of his countrymen.” 
The engraving shows a bust portrait, turned three-quarters to the left, with his 
eyes directed to the spectator. He has a fleshy face and double chin, and wears a 
powdered wig tied with a queue ribbon. He is dressed in a dark uniform coat with 


light lapels and turned-down collar, two rows of brass buttons, epaulettes, white 
neckcloth and frill. The background is a cloud-filled sky. 


ENnGRAVED— 

In stipple, by J. F. E. Prud’homme (after In stipple, by O’Neill, New York, 45% x 
James Herring’s copy of the original por- 312 inches, published by Richardson & Co. 
trait), for “Life of Major-General James A copy was made by James Herring and is 
Jackson.” now owned by Alexander Smith Cochran, 

By Charlton, 1809, 4.8x 3.10inches. (Stauf- Esq., of Yonkers, New York. 
fer, 2588.) 


472 


C485 ) 


RT. HONORABLE HENEAGE LEGGE 
1747-1827 


E was a son of Heneage Legge, second son of the first Earl of Dart- 

mouth, by his wife Catherine Fogg. He married in 1768 Eliza- 

beth, daughter of Sir Philip Musgrave, Bart., by whom he had no issue, 

and died on January 1, 1827. His sister Catherine married in 1765 

Charles Bagot (who assumed the surname of Chester), brother of Wil- 

liam Bagot, first Baron Bagot. Heneage Legge was painted by Romney 
in 1784. 

London, c. 1777. Canvas, 30x 25 inches; spandrel opening, 28 x 23 inches. He 
is shown half-length, body front, head three-quarters right, brownish-gray eyes 
directed to the spectator’s right. His hands are not shown. He wears a brown cloth 
coat, gray waistcoat, white frill, and a powdered wig on gray hair. The background 
is plain and of dark gray tones running into umber. 


The portrait was purchased from Captain Bagot-Chester in 1920 by the John 
Levy Galleries, New York. 


Not listed in Mason. 


‘(486 ) 


DUKE OF LEINSTER 


1749-1804 


ILLIAM ROBERT (FITZGERALD), son of James, first 
Duke, and Emilia May (Gordon-Lennox), daughter of Charles, 
second Duke of Richmond and Gordon. He married in 1775 Emilia 


473 


DUKE OF LEINSTER 


Olivia, daughter of Lord St. George, and succeeded his father as the 
second Duke in 1773. 


The engraving by Charles H. Hodges, which does not exactly follow the paint- 
ing, shows him painted at half length, seated in an upholstered chair studded with 
large-headed nails. He is turned three-quarters to the left, with his eyes directed 
slightly to the left of the spectator. He wears a powdered wig, tied with a queue 
ribbon. He is dressed in a high-collared coat with large metal buttons, a white 
neckcloth and ruffled shirt. The coat is edged with a narrow braid and the left lapel 
partly covers the large star of an Order. In his left hand he is holding a paper. The 
right hand is not shown. Plain background. 

Owned by the Duke of Leinster, Carton, Maywooth, County Kildare, Ireland. 


ENGRAVED, in mezzotint, by Charles H. Not listed in Mason. 
Hodges, 1792, 13% x 1034 inches (J. Listed in Strickland. 
Chaloner Smith, No. 23). 


"CAS 7a: 


MISS ELIZABETH SPROAT LENOX 
1785-1864 


HE was a daughter of Robert and Rachel (Carmer) Lenox of New 
York, and married in 1814 Robert Lenox Maitland of New York. 


Boston, c.181o. Panel, 28x23 inches. Painted in Boston while Miss Lenox 
was visiting there. Life-size, seated, to below the waist, turned three-quarters 
right, with her brown eyes directed to spectator. Her reddish-brown hair is worn 
close to the head and in ringlets on her forehead. Her complexion is brilliant. She 
wears a low-necked, high-waisted, simple white dress, and a grayish-mauve scarf 
covers the left shoulder, falling over the left breast and encircling the body, ap- 
pears at the left, covering the right arm. The background is plain, dark at the left, 
behind the figure, becoming a greenish-gray at the right. 

Her portrait came into the possession of her brother, James Lenox (1800- 
1880) of New York, and is now in the Lenox Collection in the New York Public 


Library, No. 44 (old No. 64). 
[ Zllustrated | 


474 


ee 


‘C488 )- 


MISS ISABELLA HENDERSON LENOX 
1789-1866 


HE was a daughter of Robert and Rachel (Carmer) Lenox of New 
York, and married in 1823 William Banks of New York. 


Boston, c. 1810. Panel, 28x23 inches. Painted in Boston while Miss Lenox 
was visiting there. Life-size, seated, to below waist, turned three-quarters left, 
with her gray eyes to the spectator. Her dark reddish-brown hair is worn close to 
the head, with ringlets on the forehead and curls at the back. Her complexion is 
fresh and brilliant. She wears a simple white dress, low-necked and high-waisted, 
and a mauve scarf encircles her body, covering her right shoulder and a portion of 
her left upper arm. The plain background is dark at the right, behind the figure, 
lightening at the left to a greenish-gray. 

After her death the portrait came into the possession of her brother, James 
Lenox (1800-1880) of New York, and is now in the Lenox Collection in the 
New York Public Library, No. 48 (old No. 57). 


| Illustrated | 


C489 ): 


CHARLES POWELL LESLIE 
Died 1800 


HARLES POWELL LESLIE wasason of Robert Leslie of Glas- 
lough, Monaghan County, Ireland, and his wife Frances Roger- 
son. He was well known in Dublin society; was M. P. for County 
Monaghan and refused all bribes to vote for the Union. He married, 
first, in 1765, Prudence Penelope, daughter of Arthur Hill Trevor, first 
Viscount Dungannon; and second, in 1785, Mary Anne, daughter of 


the Reverend Joshua Tench of Bryanstown. 


Dublin, 1788-1792. Canvas, 36x30 inches. Three-quarter length, turned 
half-way to the right, seated at a table on which his right arm and both hands are 


475 


CHARLES POWELL LESLIE 


resting. An inkwell and quill pen are seen by his right elbow and under his right 
hand are some papers. His blue eyes are directed to the spectator and his hair is 
slightly powdered. He wears a fur-collared dark coat, a yellow waistcoat, a white 
neckcloth and ruffled shirt. To the right of the background is a column. To judge 
from the photograph the picture has been somewhat repainted. 

This portrait has always remained in the family and is now owned by Sir John 
Leslie, Glaslough, County Monaghan, Ireland, a great-grandson of the subject. 


Not listed in Mason. Listed in Strickland. 


[ Illustrated | 


( 4QO »)s 
DOCTOR JOHN C. LETTSOM 


According to Doctor Waterhouse (q.v.), Stuart painted a full-length of “the 
celebrated Doctor Lettsom” in London, but never finished it. (See Dunlap’s “A 
History of the Rise and Progress of the Arts of Design in the United States,” 
Bayley and Goodspeed edition, Boston, 1918, Vol. I, page 205.) 


( 4QI )s 
MRS. LAWRENCE LEWIS 


1779-1852 
LEANOR (NELLY) PARKE CUSTIS, the daughter of John 
Parke and Eleanor (Calvert) Custis, was the granddaughter of 
Martha Washington and the adopted daughter of George Washington. 
She married in 1799 Lawrence Lewis, a nephew of George Washington, 
and lived for many years on the beautiful estate of “Woodlawn,” near 
Mount Vernon. Asa child she made her home with her grandparents at 


476 


MRS. LAWRENCE LEWIS 


Mount Vernon, where there are many charming relics still to be seen, 
which bring back her lovely girlhood very vividly to the visitor. Her 
harpsichord is in the music roomand her high chair in her bed-chamber. 
After her husband’s death she removed to one of his estates at Audley, 
near Berryville, Virginia, where she spent the remainder of her life. 


Philadelphia, c. 1799. Canvas, 29x 24% inches. Half-length, seated, three- 
quarters to the left, with her large brown eyes to spectator’s left. Her dark brown 
hair, with tiny yellow, pink and purple flowers in it, curls over her forehead. Her 
left hand is raised to her chin, her elbow resting on arm of the light brown satin- 
wood chair. Her right arm is on her lap with the forearm partly covered by a filmy 
scarf of white and gold. Her right hand is not shown. She wears a white short- 
sleeved dress, open at the throat, with a turned-over collar. At her waist is a narrow 
girdle of pale blue and gold. A gold band ring is seen on the third finger of her left 
hand. The background is of a greenish-gray color over a yellowish underpaint, 
with sketchily treated ornamental border at the top. 

Her portrait was inherited by her son, Lorenzo Lewis (1790-1841), and then 
by his widow, Esther Maria (Coxe) Lewis (1804-1885) of Berryville, Clarke 
County, Virginia. At her death it became the property of her son, Edward Parke 
Custis Lewis (1839-1892) of Hoboken, New Jersey, who left it to his son, 
Edwin Augustus Stevens Lewis (1870-1903) of Hoboken, who in turn left it to 
his widow, the present owner. 


ExuHIBITED at the Washington Centennial In half-tone, in Earle’s “Two Centuries of 
Loan Exhibition, New York, 1889 (142), Costume in America,” 1903, Vol. II, fac- 
by Edward Parke Custis Lewis. ing page 734. 

ENGRAVED, in line and stipple, by J. Rogers, In half-tone, in Mary C. Crawford’s “Ro- 
for Griswold’s ‘Republican Court,” 1855. mantic Days in the Early Republic,” 1912, 
(Reversed, and enlarged to a three-quar- facing page 366. 
ter length, with radical changes in dress, In half-tone, in Daughters of the American 
chair and background. ) Revolution Magazine, Vol. 59, No. 5, 

REPRODUCED— May, 1925, page 290. 

In Bowen’s “Centennial of Washington’s A copy, by E. Fisher, is at Washington and 
Inauguration,” 1892, facing page 255. Lee University, Lexington, Virginia. 

In half-tone, in Glenn’s “Some Colonial Another copy is owned by Mrs. E. A. Stev- 
Mansions,” second series, 1900, frontis- ens of Castle Point, Hoboken, a great- 
piece. granddaughter of Mrs. Lawrence Lewis. 

| Zllustrated | 


477 


( 492 )s 
WILLIAM LEWIS 
1751-1819 


The engraving by Goodman and Piggot shows him at half-length, seated in an 
armchair, turned three-quarters to the right, with his eyes directed slightly to the 
spectator’s right. He has a prominent nose and wears a powdered wig, tied with a 
queue ribbon. He is dressed in a dark coat and waistcoat, white neckcloth and 
frills. With his right hand he holds a book on his knee and his left hand, in which 
he holds a paper, rests on the edge of this book. 


ENGRAVED, instipple, vignette, half-length, A copy, made by John Neagle in 1834, and 


seated to right, by C. Goodman and R. exhibited in the Artists’ Fund Society in 
Piggot “from the original picture by Stu- Philadelphia, in 1835, and noted in their 
art, for the Analectic Magazine,” 1820. catalogue, is hanging in the Law Library, 
Two states. (Stauffer, 1143.) Philadelphia. 


C493 ): 


ROBERT LISTON 
1742-1836 


HE second son of Patrick Liston of Torbanehill, West Lothian, 

Scotland. From being private tutor to a son of Sir Gilbert Elliott, 
Baronet of Stobs, he became in 1783 secretary to the Embassy at Madrid, 
and in the same year was made Minister Plenipotentiary there, a post 
which he held until 1788. From 1788 to 1793 he was Envoy Extraordi- 
nary at Stockholm, and from 1793 to 1796 Ambassador at Constanti- 
nople. In the latter year he was married to Henrietta Marchant (q.v.), 
and from February, 1796, to 1802 was Ambassador Extraordinary- 
Minister Plenipotentiary at Philadelphia (until 1800) and Washington. 


478 


ROBERT LISTON 


From 1802 to 1804 he was Envoy Extraordinary and Plenipotentiary to 
the Batavian Republic at the Hague, when he retired on a pension for 
seven years. In 1811 he returned to diplomatic life as Ambassador 
Extraordinary and Plenipotentiary to Turkey, where he remained until 
1821, when he retired ona pension and died in Edinburgh in his ninety- 
fourth year, “the father of the diplomatic body throughout Europe.” 
“He was a Scotsman of common size, with an amiable knowing face, but 
not distinguished for courtly manners.” 


Philadelphia, c. 1798. Canvas, 29x24 inches. This is a half-length portrait, 
very similar in pose to Stuart’s portrait of Colonel John Chesnut (q.v.), and both 
pictures were doubtless painted at approximately the same time. He is shown 
three-quarters left, with his arms crossed on his breast, and his blue eyes directed 
to the spectator. His complexion is fresh. He wears a powdered wig tied with a 
black queue ribbon, a high-collared black coat and a white muslin neckcloth and 
frill. The greater part of the background is made up of a dark red curtain, draped 
back at the extreme left, disclosing'a cloudy sky with a patch of blue. 

The portrait passed at Liston’s death in 1836 to his grand-niece and heiress, 
Henrietta Ramage Liston, who married in 1843 Sir William Foulis, eighth 
Baronet, who then assumed the additional name of Liston. It was sold in 1920 by 
Sir William Liston-Foulis, tenth Baronet, to Messrs. M. Knoedler & Co. of New 
York, and in the same year was sold by them to Judge Elbert H. Gary of New York. 

Written on back of canvas: “Sir Robert Liston—Died 1837, (Sic), G. C. B. 
Her Britannic Majesty’s Ambassador to the Sublime Port. Painted by Raeburn.” 


EXHIBITED as by Sir Henry Raeburn at Ex- In “Raeburn” by Sir Walter Armstrong, 
hibition of Scottish National Portraits, London, 1901, page 106. 
Edinburgh, 1884, No. 280. In “Raeburn” by James Greig, London, 
CaTALOGUED— IQII, page 51. 
In “Raeburn” by Edward Pinnington, Lon- In “Life and Works of Gilbert Stuart” by 
don, 1904, page 238. George C. Mason, 1879, page 215. 
[ Zllustrated | 


479 


C494 ) 


MRS. ROBERT LISTON 
Died 1828 


ENRIETTA, daughter of Nathaniel Marchant of Jamaica. She 
was married at Glasgow in 1796 to Robert Liston (q.v.), who in 
February of that year was appointed Minister Plenipotentiary from 
Great Britain to the United States. She died near Edinburgh, without 


1ssue. 

Philadelphia, c. 1798. Canvas, 29 x 24 inches. She is shown half-length, half- 
way to right, with her blue eyes directed to the spectator. Her originally blond 
hair is now mostly gray and her complexion is delicate. She wears a large straw 
hat lined with light blue; the bow on top of the hat and the ribbon with which it is 
tied under her chin are of the same blue color. Her short-sleeved dress is of white 
and over her right arm and left shoulder is hung a shawl of a yellowish-pink that 
matches the color of her hat, and the narrow blue border of which matches the 
lining, bow and ribbon. With her left hand she is shown in the act of drawing over 
the right a champagne-colored glove. The background is of rich greenish-brown 
foliage at the left and upper portion of the canvas, with clouds, blue sky and 
glimpse of a landscape below at the right. 

At her death her portrait passed to her husband and at his death in 1836 was 
inherited by his niece and heiress, Henrietta Ramage Liston, who, in 1843, 
married Sir William Foulis, eighth Baronet, who then assumed the additional 
name of Liston. It was sold in 1920 by Sir William Liston-Foulis, tenth Baronet, 
to Messrs. M. Knoedler & Co., New York, who in the same year sold it to Judge 
Elbert H..Gary of New York. 

On the back of the canvas is written: “Lady Liston, wife of the Right Hon. Sir 
Robert Liston G.C.B. Her Britannic Majesty’s Ambassador to the Sublime Porte 
—Painter Raeburn.” 


EXHIBITED as by Sir Henry Raeburn at Ex- In “Raeburn” by Sir Walter Armstrong, 


hibition of Scottish National Portraits, London, 1901, page 106. 
Edinburgh, 1884, No. 264. In “Raeburn” by James Greig, London, 
CaTALOGUED— I9II, page 51. 
In “Raeburn” by Edward Pinnington, Lon- Not listed in Mason. 
don, 1904, page 238. Listed in Fielding. 
[ Z/lustrated | 


480 


Seton) 


MRS. ROBERT R. LIVINGSTON 
1724-1800 


ARGARET BEEKMAN was the only surviving child and the 

heiress of Colonel Henry and Janet (Livingston) Beekman of 
Rhinebeck, New York. She married in 1742 Judge Robert R. Liv- 
ingston, the richest landholder in New York. They resided on Broad- 
way, near Bowling Green, and had a country seat at Clermont-on-the- 
Hudson. They had ten children, and one of her sons was Chancellor 
Robert R. Livingston (q.v.). 


New York, c.1795. Canvas, 36x 2834 inches. In this half-length portrait 
Mrs. Livingston is shown seated, three-quarters to the left, in a carved and gilded 
armchair upholstered in green brocade. She wears a pale mulberry-colored dress, 
the three-quarter length sleeves of which are trimmed with double ruching of 
white pleated lawn. Over her shoulders and crossed in front is a white kerchief. 
Her gray eyes are directed to the spectator and her complexion is healthy. Her 
brown hair, which is turning gray on the forehead, is almost completely concealed 
by a high-crowned starched cap trimmed with a satin ribbon and fluted ruffle 
fastened under her chin. Her hands are lightly clasped in her lap over what appears 
to be a white apron. She wears a wedding ring. The plain background is in gray 
tones. 

This portrait was inherited by her daughter, Mrs. Richard Montgomery (1743- 
1828), who left it to her brother, the Honorable Edward Livingston (1764— 
1836), who bequeathed it to his daughter, Mrs. Cora Livingston Barton (1806— 
1873). From her it passed to Maturin Livingston Delafield (1836-1917), the 
son of Major Joseph Delafield and his wife Julia Livingston, from whom it passed 
to his son, Brigadier-General John Ross Delafield and his wife Mary Coleman 
Livingston, of New York City, the present owners. 


REPRODUCED in Bowen’s “Centennial of the Courtesy, Frick Art Reference Library, New 
Inauguration of Washington,” 1892, fac- York City. 


ing page 172. 
[ Zllustrated | 


481 


C496 ): 


MRS. ROBERT R. LIVINGSTON 
1724-1800 


New York, c.1794. Canvas, c. 36x28 inches. An exact replica of the pre- 
ceding portrait. 

This painting was owned by Mrs. Livingston’s great-great-grandson, Stephen 
Henry Olin (1847—August 6, 1925) of New York City. 


REPRODUCED in Bowen’s “Centennial of Washington’s Inauguration,” 1892, facing page 256. 


et O7 


MRS. ROBERT R. LIVINGSTON 
1724-1800 


New York, c. 1794. Canvas, 36x 274 inches. Another replica. 
In the possession of a descendant, C. V. Livingston, Esq., of Kingston, New 
York. 


Not listed in Mason. 


C498 ): 


MRS. ROBERT R. LIVINGSTON 
1724-1800 


New York, c. 1794. Canvas, 36x28 inches. This portrait of Mrs. Livingston, 
née Margaret Beekman, is similar to the three previously mentioned portraits of 
her by Stuart, except that a black lace scarf which covers her shoulders, upper arms 
and bosom, was added by Stuart at the house of her daughter, Mrs. Thomas Tillot- 
son. In this portrait her wedding ring was omitted. In quality it is by far the best 
of the set. 

This portrait was painted for Mrs. Livingston’s daughter Margaret, wife of 
Doctor Thomas Tillotson (q.v.). In 1890 it was in the possession of Mrs. 'Tillot- 


482 


MRS. ROBERT R. LIVINGSTON 


son’s granddaughters, the Misses Tillotson of New York, and subsequently was be- 
queathed by Miss Maria Livingston Tillotson to her nephew, William P. Wain- 
wright, who left it to his brother, Charles H. Wainwright, Esq., of New York, the 


present owner. 


REpRopucED in Bowen’s “Centennial of Courtesy, Frick Art Reference Library, New 
Washington’s Inauguration,” 1892, fac- York City. 
ing page 256. 
[ Zllustrated | 


eto oe) 


ROBERT R. LIVINGSTON 
1746-1813 


OBERT R. LIVINGSTON, son of Robert R. Livingston and his 
wife Margaret Beekman (q.v.), was born in New York City. He 
graduated from Kings College in 1765 and entered the office of William 
Smith, for the purpose of studying law. He became a partner of John 
Jay in 1773, when he was admitted to the bar. In 1775 he was elected a 
member of the Assembly from Dutchess County. He was a member of 
Congress in 1776.and became a member of the committee of five to draw 
up the Declaration of Independence. After serving on several commit- 
tees he was appointed Chancellor of New York. In 1781 he was ap- 
pointed Secretary for Foreign Affairs, and upon his resignation in 1783 
received the thanks of Congress. As Chancellor it was his duty to ad- 
minister the oath of office to General Washington as first president. He 
became Minister to France in 1801 and one of his first duties after his 
arrival there was to open negotiations for the purchase of the territory in 
the United States beyond the Mississippi. In 1803 the treaty was signed, 
by which the vast region then known as Louisiana was purchased for 


483 


ROBERT R. LIVINGSTON 


fifteen millions. In Paris he had formed a friendship with Robert Fulton 
and became his partner. He wasalso one of the founders of the American 
Academy of Fine Arts and received the degree of LL.D. in 1792. He 
died at his beautiful country seat, “Clermont,” near Tivoli-on-Hudson, 


New York. 
New York, c.1794. Canvas, 36x28% inches. Half-length, seated, three- 


quarters to the left, in a mahogany armchair upholstered in brownish-red and 
studded with brass-headed nails. His hair is powdered and tied with a narrow black 
queue ribbon, his complexion is florid, his right eye is blue and his left eye hazel. 
He wears a high-collared black coat and white neckcloth. In front of him, in the 
lower left corner of the picture, is a table covered with a brownish-red cloth. Both 
of his forearms are on the table, but only the left hand, with shirt ruffles at the 
wrist, is shown. This hand rests on a paper on which is written “‘Constitution of 
S.N.Y.”, while with his thumb and forefinger he holds a second paper inscribed 
“Council of Revision.”” Behind his hands are an inkwell with a quill pen and two 
leather-bound books, standing upright on the table. The background is plain and in 
shades of greenish-gray. 

This portrait was inherited by Chancellor Livingston’s eldest daughter, Eliza- 
beth Stevens (1780-1829), wife of Edward P. Stephen Livingston, who left it to 
her son, Clermont Livingston, at whose death it passed to his son, John Henry 
Livingston, Esq., of Clermont, New York, the present owner. 


EXHIBITED at the Loan Exhibition of His- In half-tone, in “The Livingstons of Liv- 
torical Portraits held in New York during ingston Manor,” by Edwin Brockholst 
the celebration of the Centennial of Livingston, privately printed, 1910, fac- 
Washington’s Inauguration, 1889, No. ing page 292. 

P60. Not listed in Mason. 

ENGRAVED— Listed in Fielding, No. 80. 

In mezzotint, by George Graham, New Copies (or replicas ?) of this portrait are in 
York, 1804, 15.4x12.2 inches. (Stauffer, the possession of different descendants, 
No. 1166.) The only known copy of this but I did not have the opportunity to ex- 
engraving is in the New York Public Li- amine them. A copy by Pratt is in Inde- 
brary (Lenox Library). pendence Hall, Philadelphia. This copy 

On wood, by R. G. Tietze, for the Century is reproduced, in half-tone, in G. C. Lee’s 
Magazine, 1896, Vol. 31, page 165. “History of North America,” Vol. 8, 

REPRODUCED— facing page 204. 

In Bowen’s “Centennial of Washington’s Courtesy, Frick Art Reference Library, New 
Inauguration,” 1892, facing page 45. York City. 

[ Zllustrated | 


484. 


( 500 )s 


DOCTOR JAMES LLOYD 
1728-1810 


H* was at the head of the medical profession in Boston and was a 
strenuous advocate for inoculation. His grandfather, James, came 
from Somersetshire, England, about 1670. The grandson was a mod- 
erate Loyalist and remained in Boston while it was occupied by British 
troops. In 1789 he went to England to obtain compensation for losses 
sustained during the Revolution, but his application was refused unless 
he declared himself a British subject, which he declined to do. 


Boston, c. 1808. Panel, 33x2558 inches. He is seated, three-quarters left, 
in an Empire armchair upholstered in crimson velvet, with his hazel eyes directed 
to the spectator. His head is crowned above a high forehead with a profusion of 
white hair, brushed back from the face in short curly locks and tied in a queue with 
a narrow ribbon; his short sidewhiskers are also white. His nose is large and long, 
and his complexion ruddy. He wears a white neckcloth and crisp white shirt 
ruffles; and his high-collared, tight-fitting black coat is buttoned across his breast, 
showing a little of the bluish-gray waistcoat. His left arm rests on the arm of the 
chair, and the closed left hand is held in front of the body. Behind the figure hangs 
an orange-red curtain, mainly in the shadows, against which the white hair is 
strongly contrasted. At the left, where the curtain is folded back, appears a plain 
grayish-olive wall and a part of a Tuscan column. 

The portrait was inherited by his son, James Lloyd (d. 1831), who bequeathed 
it to his nephew, John Borland. In 1880 it was owned by Miss Alida Lloyd Bor- 
land of Boston, and in 1918 it was in the possession of John Borland of Newport, 
Rhode Island, who sold it to Mrs. Gordon Abbott of Boston, Massachusetts. 


EXHIBITED at the Boston Athenzum in er’s “American Medical Biography,” 
1829 by James Lloyd of Philadelphia. 1828, Vol. I, page 359. 

ENGRAVED, on wood, by Kilburn, and re- A copy (30x25 inches, and not showing 
produced in Winsor’s “Memorial His- the hand) was exhibited at the Union 
tory of Boston,” 1881, Vol. IV, page 547. League Club, NewYork, February, 1922, 

LirHocRaAPHED by Pendleton for Thach- as an original by Stuart. 


485 


*( 501 ): 
MRS. JAMES LLOYD 


1773-1846 
AUGHTER of Samuel and Hannah (Andrews) Breck of Boston 
and afterwards of Philadelphia. She married the son of Doctor 
James Lloyd (q.v.) and he became United States Senator from Massa- 
chusetts. Mason says that her portrait is a very fine one and in 1879 was 
in the Aspinwall Gallery, New York. 


( 502 )s 


CAPTAIN WILLIAM LOCKER 
1731-1800 
SON of John and Elizabeth (Stillingfleet) Locker. He entered the 


navy in 1746, and was invalided in 1779, after an active career. In 
1793 he was appointed Lieutenant-Governor of Greenwich Hospital, 
Greenwich, London. He married in 1770 Lucy Parry (died 1780), 
daughter of Admiral William Parry. 


London, c. 1785. Canvas, 34x 30 inches. Half-length, turned three-quarters 
to the left, with his brown eyes directed to the spectator. His sparse white hair is 
tied in a queue bow, and he wears a naval uniform coat of dark blue with white 
facings and gold braid and buttons, and a white stock. The plain background is 
dark brown. 

This portrait was formerly in the possession of the Earl of St. Vincent, who, 
some years before his death, presented it to Edward Hawke Locker, the son of 
William Locker, and he, in 1830, in the name of his family, presented it to 
Greenwich Hospital, where it hangs in the Painted Hall. 


486 


CAPTAIN WILLIAM LOCKER 


ENGRAVED— 

In stipple (oval), by W. Ridley for “Naval Not listed in Mason. 
Chronicle,” 1801; 44% x 33% inches. Listed in Strickland. 

In stipple, by H. T. Ryall, London, 1832; Reproduced by kind permission of The 
5% x 4% inches. Lords Commissioners of the Admiralty. 


[ Zllustrated | 


( 503 )s 
DOCTOR GEORGE LOGAN 


1753-1821 


SON of William and Hannah (Emlen) Logan of “Stenton,” 
Germantown, Pennsylvania, and grandson of James Logan of 
“Stenton.” He was educated in England and received the degree of 
M.D. in 1779 from Edinburgh University. He became a leader of the 
anti-Federal party; was United States Senator from Pennsylvania from 
1801 to 1807. Doctor Logan was a Quaker and, it is stated, was the only 
member of the Society of Friends in good standing who ever had a seat 
in the United States Senate. He was known as a prominent agriculturist 
and published many interesting pamphlets on the subject. In 1781 he 
married Deborah Norris (died 1839). 

Washington, c. 1804. Canvas, 30x25 inches. A bust portrait, showing him 
turned half-way to the right, with his eyes directed to the spectator. He wears a 
high-collared blue coat with gilt buttons, a white neckcloth and 7aboz. The plain 
background is dark green. 

This portrait, which has always remained in the family, is now owned by A. 


Charles Logan, Esq., of ““Stenton,” Germantown, Pennsylvania, a great-grandson 
of the subject. 


ReEpropuceD, as the frontispiece, in “Dr. Not listed in Mason. 
George Logan of Stenton,” published by Listed in Fielding, No. 82. 
the Pennsylvania Historical Society, Phil- A copy, artist unknown, hangs in the hall of 
adelphia. . Mr. A. Charles Logan’s home. . 


487 


*( 504 ) 


JOHN LOGAN 
1750-1805 


} eae LOGAN was born in Duncannon Fort, County Waterford, - 
Ireland. He learned the art of seal and gem engraving in Dublin, 
became a leading exponent of this craft and held the appointment of 


“King’s seal cutter.”” Owing to ill-health he retired in 1802. 

Dublin, c. 1790. Oval on rectangular canvas, 30144 x 25% inches. Half-length, 
turned three-quarters to the right, with arms folded and light brown eyes directed 
to the spectator. He has a fresh complexion, wears a powdered wig tied with a 
queue bow, a high-collared black coat with large buttons, white neckcloth and lace 
stock. The background consists of a red curtain draped away from a section of the 


right half of the picture. 
This portrait was acquired in 1922 by M. Knoedler & Co., of London and New 


York. 
Not listed in Mason. Courtesy, M. Knoedler & Co., New York. 


[ Zllustrated | 


( 505 )s 
LOPEZ 


CCORDING to Mason, the Lopez family were wealthy Jews, re- 

siding in Newport, and their portraits were painted in the youth- 

ful days of Stuart. The family is extinct, and all trace of the pictures is 
lost. 

Anexamination of records shows that Aaron Lopez was a Portuguese 
Jew who came to America about 1746, and about 1754 settled in New- 
port, Rhode Island, where he acquired more than a local prominence 
for the great extent of his mercantile affairs and for the probity of his 


488 


LOPEZ 


character. At the outbreak of the Revolution he removed with his fam- 
ily to Leicester, Massachusetts, where the remainder of his life was 
passed. He was drowned in Scott’s pond, near Providence, while on his 
way to visit friends in Newport. He married Abigail, daughter of Jacob 
Rodriguez Rivera (q.v.) of Newport, and their daughter, Abigail 
Lopez, married at Newport, May 27, 1790, Isaac Gomez, a New York 
merchant. 


-( 506 )s 


CALEB LORING 
1764-1850 


Fe was a son of Caleb and Sarah (Bradford) Loring of Boston. 
In 1789 he married Ann Greeley (q.v.) and lived on Somerset 
Street. He was a merchant, a member of the Massachusetts Humane 


Society, and, in 1828, a State Senator from Suffolk County. 


Boston, c.1815. Panel (s), 2576x2034 inches. He is shown bust, half-way 
to right, with his head turned almost front, and with his dark-brown eyes directed 
to the spectator. His hair, brushed from his forehead @ la pompadour, is dark 
brown, as are his short sidewhiskers; his complexion is rather florid. He wears a 
black high-collared coat, buttoned; a white neckcloth, tied in a bow; ruffled shirt; 
and a white waistcoat showing inside of his coat. The background is plain and of 
dark brownish-gray tones. 

His portrait was inherited by his son, Charles Greeley Loring (1794-1867) of 
Boston, who left it to his son, Charles Greeley Loring (1828-1902) of Boston, 
and he in turn bequeathed it to his nephew, William Caleb Loring, LL.D., of 
Boston. 

ExHIBITED— At the Museum of Fine Arts, Boston, in 


At the exhibition of Stuart’s portraits, Bos- 1880, and again in I9I5. 


ton, 1828, No. 42. 
[ Illustrated | 


489 


( 507 )s 
MRS. CALEB LORING 
1769-1819 


HE was Ann Greeley, daughter of Jonathan and Mary (Hichborn) 
Greeley, and married in 1789 Caleb Loring (q.v.). 


Boston, c. 1815. Panel (s), 2538 x 2034 inches. She is shown bust, three-quar- 
ters left, with her dark grayish-blue eyes directed to the spectator. Her light brown 
hair, in which spots of pale green are introduced, giving the hair a “‘tow”’ color, is 
parted in ringlets on her forehead, temples, and in front of her ears. A greenish- 
white dress, with a V-shaped neck finished with a collar or ruching of white pointed 
lace, starched, and a mantle of white lace resting on top of her head, comprise her 
costume. Her complexion is brilliant. The background is plain and of a grayish- 
green tone. 

Her portrait passed to her husband, and at his death in 18 50 to their son, Charles 
Greeley Loring (1794-1867) of Boston, and then to his son, Charles Greeley 
Loring (1828-1902) of Boston, and then to his nephew, William Caleb Loring, 
LL.D., of Boston. 


ExHIBITED— At the Museum of Fine Arts, Boston, in 
At the exhibition of Stuart’s portraits, Bos- 1880, and again in 1915. 
ton, 1828, No. 43. 
[Zllustrated | 


-( 508 ): 
DAVID LOW 
1786-1829 


E wasa son of David and Elizabeth (Rogers) Low of Gloucester, 
Massachusetts, and married in 1824 Mary Haswell Langdon 
(1804-1876). He was in early life a ship-master, and later a banker 


490 


DAVID LOW 


in Boston, representing Stieglitz Brothers, bankers of St. Petersburg, 
Russia. 

Boston, 1824. Canvas (s), 27x 24 inches. He is shown bust, three-quarters left, 
with his blue eyes directed to the spectator. He wears a very dark blue coat with a 
high collar and lapel. The coat is buttoned at the waist, showing a soft white linen 
stock and full soft linen shirt. His thick, slightly curly hair is a bright chestnut 
brown, parted on the left side and brushed off the forehead @ la pompadour, and he 
wears sidewhiskers; his complexion is florid. The background is plain and of dull 
brown tones. 

At his death, his portrait became the property of his widow, and at her death 
in 1876 passed to their daughter, Mary Elizabeth Low (1825-1896), wife of 
Charles Frederick Heywood of New York, and then to her daughter, Mary Orient 
Heywood, wife of Charles Frederick Roper, Esq., of Pelham Manor, New York. 


EXHIBITED at the exhibition of Stuart’s portraits, Boston, 1828, No. 178. 


( 509 )s 
JOHN LOWELL 
1769-1840 


J OHN LOWELL was a son of John and Sarah (Higginson) Lowell 
of Newburyport, Massachusetts. He was graduated from Harvard 
College in 1786 and received his LL.D. in 1814; a Fellow of Harvard 
College from 1810 to 1822 and Overseer from 1823 to 1827. In 1793 
he married Rebecca Amory (1771-1842), a daughter of John and 
Katherine (Green) Amory of Boston. 

Boston, c. 1824. Canvas, 30x25 inches. Half-length, seated half-way to the 
left in an Empire armchair upholstered in red, with his right arm resting on a 


table covered with a green cloth. On the table are some papers and an inkwell in 
which a quill pen is thrust. His brown eyes are directed to the spectator. His com- 


49! 


JOHN LOWELL 


plexion is ruddy and his hair dark brown. He wears a dark coat, a white waistcoat, 
high collar, neckcloth and finely pleated ruffled shirt. The plain background varies 
from a gray toa dark brown. 

His portrait was inherited by his son, John Amory Lowell (1798-1881), an 
eminent citizen of Boston, and at his death it passed to his son, Judge John Lowell 
(1824-1897) of Brookline, Massachusetts, who left it to his son, John Lowell, 
Esq., of Boston. 


ExHIBITED— 

At the exhibition of Stuart’s portraits, Bos- sor’s “Memorial History of Boston,” 
ton, 1828, No. 76. 1881, Vol. IV, page 285. 

At Museum of Fine Arts, Boston, 1880. Repropucep in “The Atheneum Cente- 

ENGRAVED, on wood, by Kilburn for Win- nary,” 1907, facing page 38. 


[ Zllustrated | 


( 510 )s 


THOMAS LOWNDES 
1766-1843 


HOMAS LOWNDES was a son of Rawlins and Mary (Cart- 
wright) Lowndes of Charleston, South Carolina, and married in 
1798 Sarah Bond Ion (q.v.) of Springfield, St. James, Santee, South 
Carolina, and had eleven children. He wasa Representative in Congress 


from Charleston from 1800 until 1808, and a Federalist and supporter 
of John Quincy Adams. 


Washington, c. 1803. Canvas, 2834 x 2334 inches. He is shown bust, three- 
quarters right, with his blue eyes directed to the spectator. His light brown hair is 
brushed down on his forehead and over his ears, and he wears sidewhiskers. His 
collar, neckcloth, and tie are white, and the lapels of his white waistcoat are 
upturned and show above his high-collared black coat with its brass buttons. The 
plain background is dark brown. 

The portrait was inherited by his son, Rawlins Lowndes, then went to his 
daughter, who married, first, Eugene Langdon, and, second, Philip Schuyler. Mrs. 


492 


THOMAS LOWNDES 


Schuyler’s eldest daughter, Marion Langdon, wife of Royal Phelps Carroll, Esq., 
of New York, is the present owner. 


EXHIBITED at the Metropolitan Museum of H. B. Bonnetheau, is owned by Mrs. 
Art, New York, January, 1925. Lane Mullaly of Charleston, South Caro- 
A copy of this portrait, made in 1846 by lina. 
[ Zllustrated | 


(( 511 ): 


MRS. THOMAS LOWNDES 
1778-1840 


ARAH BOND ION, a daughter of Jacob Bond Ion of Springfield, 

St. James, Santee, South Carolina, by his wife Mary Ashby. She 

“united a charm of manner to a handsome and distinguished presence 

and her portrait, by Gilbert Stuart, has been ranked among the most 

successful of all his pictures of women.” She married Thomas Lowndes 
(q.v.) in March, 1708. 


Washington, c. 1803. Canvas, 2834x2334 inches. She is shown half-length 
and seated, three-quarters left, with her dark brown eyes directed to the spectator. 
Her reddish-brown hair is in ringlets on her forehead. Her figure is stout, and she 
wears a high-waisted, low-necked, short-sleeved white dress, with white lace at 
the neck of the dress and at the sleeves, with an appliqué decoration of pearls on 
~ the sleeves and at her breast. Her arms are crossed on her lap, her right hand 
resting on her left forearm. The plain background is dark brown, and the back of 
her red chair shows at the lower right. 

The present owner of this portrait is Mrs. Royal Phelps Carroll of New York, 
its history being the same as that of the portrait of Mr. Thomas Lowndes. 


ExuIsiTep at the Metropolitan Museum of Carolina; another copy, made by H. B. 
Art, New York, January, 1925. Bonnetheau in 1846, is owned by Mrs, 
A copy of this portrait is owned by Miss Lane Mullaly, also of Charleston. 
Mary Ion Gaillard, Charleston, South 
[ Zllustrated | 


493 


(( 512 ): 


EARL OF MACARTNEY 
1737-1806 


EORGE MACARTNEY, son of George and Elizabeth (Winder) 

Macartney, was born at Lissanoure, County Antrim, Ireland. He 
was graduated from Trinity College in 1759, and studied at Inner 
Temple, London. Envoy-extraordinary to Russia in 1764; a member 
of the English Parliament; in 1769 became a member of the Irish Par- 
liament; and chief secretary for Ireland. He was governor of Granada in 
1775; governor of Madras in 1780; and in 1785 was appointed gover- 
nor general of Bengal, but declined the honor. Created Earl of Macart- 
ney in the Irish peerage. In 1792 he was first envoy of Great Britain to 
China. On his return from confidential mission to Italy, in 1796, he was 


raised to the English peerage, and from 1796 to 1798 was governor of 
Cape of Good Hope. 


Canvas, 30x25 inches. 
Owned by the Earl of Normanton, Somerley, Ringwood, Hants, England. 


Not listed in Mason. Listed in Strickland, as by Stuart. 


( 513 )s 
JAMES MACDONALD 


Canvas, 29x 24 inches. A half-length portrait, showing him seated in an arm- 
chair upholstered in brownish-red, turned slightly to the right, with his gray-blue 
eyes directed to the spectator. He wears a powdered wig tied with a narrow black 
queue ribbon and his complexion is florid. He is dressed in a double-breasted dark 


494 


JAMES MACDONALD 


blue coat with black collar and brass buttons, a white waistcoat, white neckcloth 
and ruffled shirt. In his right hand he holds a letter, while the left hand is not 
shown. In the background is a curtain of the same color as the chair, darker toward 
the upper left and draped back at the right, showing a narrow strip of brown wall. 

In the possession of the Howard Young Galleries of New York City, who 
bought it in the summer of 1925 in England. 


Not listed in Mason. THEODORE BoLton 
This portrait had not come to the attention Joun Hitt Morcan 
of Lawrence Park. WILLIAM SAWITZKY 
[ Illustrated | 


C514 }: 
SIR ALEXANDER MACKENZIE 
1755-1820 


HIS is said to be a portrait of Sir Alexander Mackenzie, a Scotch 
traveler, but no definite record has been obtained. 


London, c. 1788. Canvas, 30x25 inches. Three-quarters length, nearly full 
face, turned slightly to the left. His coat is blue, fastened with two buttons, and 
the portion of his waistcoat showing below the coat is buff color. He also wears a 
white neckcloth and bow tie. His hair is powdered. It is thg portrait of a hand- 
some, distinguished looking man. The picture has been overcleaned and ruthlessly 
repainted, especially the face. 

It was sold by the Mackenzie family of Rosshire, Scotland, through Christie, 
London, to Robinson & Farr of Philadelphia, who sold it to Herbert Lee Pratt, 
Esq., of New York, who presented it to the University Club of the City of New 


York. 
Not listed in Mason. Listed in Fielding. 


495 


( 515 )s 


JAMES MADISON 
1751-1836 


AMES MADISON, fourth President of the United States, was a son 
of James and Eleanor Rose (Conway) Madison of King George 
County, Virginia. 


Washington, early in 1804. Canvas, 29x24 inches. This half-length portrait 
shows him seated in an armchair upholstered in red. He is turned half-way to the 
right and his eyes are looking at the spectator. He wears a black coat with standing 
collar and a white stock ending in lace. His hair is powdered and tied in a queue 
bow. His right elbow rests on the arm of the chair and part of his right hand, 
which is resting on his lap, is visible. The background consists of a red curtain, 
draped in such a way as to reveal at the extreme right a bookshelf with a few rows 
of books, bound in brown leather. . 

The portrait belonged to President Madison and hung on the walls at Mont- 
pelier, Virginia, for two or three years after his death. On the death of Mrs. 
Madison it was bought by Judge Edward Coles (1786-1868) of Philadelphia, 
who had been Madison’s private secretary from 1809 to 1815, and who in 1822 
became Governor of Illinois. It was inherited by his son, Edward Coles (1837— 
1906) of Philadelphia, and then by the latter’s daughter, Virginia C. Coles, wife 
of George S. Robbins, Esq., of Haverford, Pennsylvania. 


ExHIBITED— 

At the exhibition of Stuart’s portraits, Bos- In stipple, by W. S. Leney, 3.10x 2.14 
ton, 1828. inches. Two states. (Stauffer, 1808.) 

At the Loan Exhibition of Historical Por- In stipple, reversed, by W. S. Leney, 3.10 x 
traits, held at Pennsylvania Academy of 2.14 inches. (Stauffer, 1807.) 
the Fine Arts, Philadelphia, December, In stipple, by W. R. Jones, 1814, 5.3 x 4.5 
1887, to January, 1888. inches. (Stauffer, 1520.) 

ENGRAVED— In line, vignette, bust only, by H. B. Hall. 

In mezzotint, by T. B. Welch, 5.4.x 4.7 
inches. REprRopUCED in Bowen’s “Centennial of 

In stipple, by David Edwin, 1809, 9.14x Washington’s Inauguration,” 1892, fac- 
8.6 inches. (Stauffer, 817.) ing page 63. 

In stipple, by W. A. Wilmer, after David A copy is owned by the Pennsylvania Acad- 
Edwin, 4.6 x 3.10 inches. emy of the Fine Arts, Philadelphia. 


| [llustrated | 


496 


-( 516 ) 


JAMES MADISON 
1751-1836 


Canvas, 4612 x 3834 inches. Three-quarters length, seated in a gilt chair up- 
holstered in red, at a table covered with a red cloth, on which are three leather- 
bound books with red labels. He is turned slightly to the right, with his dark 
blue eyes directed at the spectator’s right. He wears a powdered wig, tied with a 
narrow black queue ribbon; a coat, waistcoat and knee-breeches of black satin, and 
black stockings. His right forearm rests on the table, while his left arm is thrown 
over the back of the chair, with the hand hanging freely down. Shirtcuffs show at 
his wrists. The background is composed of a grayish-green wall, with the base of 
a stone column of similar color and red curtain at the left. 


This portrait was painted for the Honorable James Bowdoin (q.v.) and pre- 
sented by him to Bowdoin College, Brunswick, Maine. 


REPRODUCED— In half-tone, in Mary C. Crawford’s “Ro- 
In Bowen’s “Centennial of Washington’s mantic Days in the Early Republic,”1916,. 
Inauguration,” 1892, facing page I15. facing page 184. 
In photogravure, in Fiske’s “Critical Period A copy, by Asher Brown Durand, is owned 
of American History,” 1898, frontispiece. by the New York Historical Society. 
[ Zllustrated | 


( 517 )s 
JAMES MADISON 
1751-1836 


Canvas, 40x 32 inches. Half-length, turned slightly to the right, with his eyes 
directed to the spectator’s right. He is seated in a carved chair, the arm of which 
he grasps with his left hand. He is dressed the same way as in the portrait at 
Bowdoin College. At the left is a table, covered with a green cloth, on which are 
several books bound in brown leather with red labels, and a quill pen. His right 
forearm rests on some sheets of paper on the table and he is holding some other 
papers in his right hand. The background consists largely of a green curtain with 


497 


cords and tassels, draped back at the right and revealing part of a brownish-green 
stone column and a blue and pink sky. 

This portrait was one of a set of portraits of the first five Presidents painted by 
Stuart for John Doggett, a well-known picture dealer of Boston. (For details see 
history of portrait of John Adams belonging to this set.) The portraits of Madison 
and Monroe were saved from the fire in the Congressional Library in 1851 and 
were bought in the same year by Colonel Peter Augustus Porter (d. 1864), who 
sold them in 18 56 at auction, where they were bought by A. B. Douglas of Brook- 
lyn, New York, who sold them in 1857 to A. A. Low (1811-1893) of Brooklyn. 
At his death they were inherited by his son, the Honorable Seth Low (18 50-1916) 
of New York, who sold the portrait of Madison to Herbert Lee Pratt, Esq., of 
New York City and Glen Cove, Long Island. 


EXHIBITED— REPRODUCED— 

At the exhibition of Stuart’s portraits, Bos- In Bowen’s “Centennial of Washington’s 
ton, 1828, No. 30. Inauguration,” 1892, facing page ITS. 
At the exhibition of Early American Paint- In half-tone, in the catalogue of the Brook- 

ings, at the Brooklyn Museum, February lyn Museum Exhibition, 1917, facing 
3 to March 12, 1917, No. 96. page 88. 
At the Metropolitan Museum of Art, New A copy, by Miss Drinker, is in the National 
York City, 1924, by Herbert L. Pratt, Esq. Museum (Old State House) at Philadel- 
ENGRAVED— phia. Other copies are owned by the Bos- 
In stipple and line, oval, bust only, by R. E. ton Museum of Fine Arts, by the Red- 
Babson, 4.13 X 3.13 inches. wood Library, Newport, Rhode Island, 
In line, by V. Balch, 5.2 x 3.13 inches. and by the Virginia Historical Society. 


In line, vignette, by V. Balch, 3.9 x 2.12 
inches. (Stauffer-Fielding, 98.) 


[ Illustrated | 


( 518 )s 


JAMES MADISON 
175 P-Loge 


Panel, 2558x211% inches. Bust; turned slightly to the right; with his dark 
blue eyes directed to the spectator’s right. His complexion is ruddy and his wig, 
tied in a queue bow, is powdered. He wears a black coat with black satin waistcoat, 
a white neckcloth and frill. 


498 


JAMES MADISON 


This portrait is owned by Thomas Jefferson Coolidge, Esq., of Boston. It is one 
of a set of the first five Presidents painted by Stuart for Colonel George Gibbs 
(q.v.). Its history is the same as that of the “Gibbs-Coolidge”’ portrait of Wash- 
ington, forming a part of this set. 


ENGRAVED, on wood, by G. Kruell, for Har- REPRODUCED in Bowen’s “Centennial of 
pers Magazine, 1884, Vol. 68, page 747. Washington’s Inauguration,” 1892, fac- 
ing page 150. 
| Zllustrated | 


( 519 )s 


1768-1849 
OROTHY TODD PAYNE was a daughter of John and Mary 
(Coles) Payne of North Carolina. She married, first, in 1786, 
John Todd (died 1789) of Philadelphia, and, second, in 1794, James 
Madison (q.v.). 

Philadelphia, early in 1804. Canvas, 30x25 inches. Mrs. Madison, writing to 
her sister from Montpelier, June 3, 1804, says: “Stuart has taken an admirable 
likeness of Mr. Madison; both his and mine are finished.” This half-length por- 
trait shows Mrs. Madison seated, half-way to the left, in a crimson upholstered 
chair, with her hands folded in her lap, and her grayish-blue eyes directed to the 
spectator. Her dark brown hair is dressed in curls on her forehead and in front of 
her ears. She wears a low-necked, short-sleeved white dress, trimmed with an 
edging of lace and two rows of narrow gold ribbon around the neck and sleeves. A 
yellow gauze scarf is draped over her right arm and is brought around onto the left 
arm of the chair. Around her neck a gold chain is wound four times, and a small 
gold and topaz brooch is fastened to the front of her dress. A crimson curtain is - 
draped in the background and to the left is a column on a parapet with a cloud- 
flecked sky in the distance. The reproduction in Bowen (see below) shows her hair 

-much simpler dressed, without the false curls on top of her head which are a later 
addition. 

This portrait of Mrs. Madison was bought at public auction just after her death 


4 


499 


MRS. JAMES MADISON 


by her adopted daughter, Anna Payne, afterwards the wife of Doctor Causten. 
Mrs. Causten bequeathed it to her daughter, Mary Carvallo Causten, wife of John 
Kunkel of Washington, District of Columbia. On November 6, 1899, the portrait 


was acquired by the Pennsylvania Academy of the Fine Arts, Philadelphia. 


EXHIBITED at the Chicago Art Institute, 
January, 1905, by the Pennsylvania Acad- 
emy of the Fine Arts. 

ENGRAVED— 

Instipple, by David Edwin, 9.10x 7.3 inches. 
(Stauffer, 819.) 

In stipple, for Griswold’s “Republican 
Court,” 1855. (Reversed, enlarged to a 
three-quarter length standing figure, and 


REPRODUCED— 
In Bowen’s “Centennial of Washington’s 
Inauguration,” 1892, facing page 258. 
In intaglio-gravure, in “Makers of Ameri- 
can Art,” published by the Mentor Asso- 
ciation, New York, 1913. 

In half-tone, in A. C. Clark’s “Life and 
Letters of Dolly Madison,” 1914, fron- 
tispiece. 


with considerable changes. ) 
| Illustrated | 


*( 520 ) 


FRANCIS MALBONE 
(Died 1809) 


AND HIS YOUNGER BROTHER, 
SAUNDERS 


RANCIS MALBONE was the son of Francis Malbone of Virginia, 
ne the grandson of Adolphus Malbone of the colony. He entered 
into business in Newport, Rhode Island, with his brother Evan. The 
latter died in 1784, when Francis became associated with Daniel Mason, 
but the connection was soon dissolved. For seventeen years Francis 
Malbone wasat the head of the Newport Artillery, his commission being 
dated 1792, and his attachment to the company was very great. He 
entered Congress as a Federalist in 1793. At the time of his death 
Colonel Malbone had gone through the several gradations of office and 


500 


FRANCIS MALBONE 


had faithfully and diligently served the State and town as a member of 
the General Assembly, and as a Representative and Senator in Congress. 
He left Newport February 20, 1809, to take his seat in the United States 
Senate. On Sunday, June 4, while ascending the steps of the Capitol, to 
attend divine service, he fell and immediately expired. 

Newport, 1770-72. Canvas, 35 x 43 inches. ‘This picture was painted by Stuart 
when he was between fifteen and seventeen years of age. It shows the brothers 
seated at a mahogany table, their hazel-brown eyes directed to the spectator. 
Francis, in his blue green coat and knee-breeches, white turned-over collar, neck- 
cloth and ruffled shirt, to which is pinned a leaf-shaped brooch, is writing a letter. 
His left hand rests on the paper and with his right hand he is dipping a quill pen 
into the inkwell. The younger brother wearsa light blue coat, waistcoat, and knee- 
breeches; a white turned-over collar and black neckcloth and tie. His head is 
supported by his right hand, the right elbow resting on a red leather-bound book 
which is on the table. In his left hand he holds an open book which is partially 
resting on the edge of the table and on his crossed knees. ‘The chair on which 
Francis is seated is mahogany. The background is dark green. 

The portrait was bequeathed by Francis Malbone to his nephew, Francis Mal- 
bone Breese, who left it to a daughter of his sister, Mrs. Lucy Randolph Blodget 
of Scarsdale, New York, the present owner. 


[ [llustrated | 


( 521 )s 
THOMAS MALTON 
1748-1804 
HOMAS MALTON, son of Thomas Malton (1726-1801), a 
topographical draughtsman, was born in London and became an 


architectural draughtsman, water color painter and engraver. In 1774. 
he received a premium from the Society of Arts, and in 1782 the gold 


501 


THOMAS MALTON 


medal of the Royal Academy for a design for a theatre. He exhibited at 
the Royal Academy from 1774 to 1802, and published “Picturesque 
Tour thro’ London,” “‘Views of Oxford,” and similar works. 

Dublin, c.1790. The mezzotint engraving by W. W. Barney shows a half- 
length portrait, turned three-quarters to the left, with his eyes directed to the 
spectator. His hair is lightly powdered and tied in a queue bow. He wears a high- 
collared coat with large metal buttons, a striped waistcoat, partly unbuttoned, a 


white neckcloth and ruffled shirt. Plain dark background. 
The present whereabouts of this portrait are unknown. 


ENGRAVED— 

In mezzotint, by John Jones, 1790. Not listed in Mason. 

In mezzotint, by W. W. Barney, 1806, 1134 Listed in Strickland. 
x 95% inches. (J. Chaloner Smith, No.10.) 


( §22 ): 
DUKE OF MANCHESTER 


1737-1788 

EORGE MONTAGUE, Viscount Mandeville, son of Robert 
(1710-1762), third Duke of Manchester, by his wife Harriet 
(died 1755), daughter and co-heir of Edmund Dunch, of Little Wit- 
tenham, Burks. He succeeded his father as fourth Duke of Manchester 
in 1762. Throughout the struggle with America he sided with the 
colonies. In 1762 he married Elizabeth, eldest daughter of Sir James 
Dashwood, second Baronet of Northbrook and Kirtlington, and their 

son William (1771-1843) succeeded as fifth Duke. 
The engraving by John Jones shows a half-length portrait, the body almost 


front, the head turned half-way to the left, with eyes in the same direction. He 
wears a powdered wig. In his left hand he holds a chamberlain’s wand and he is 


502 


DUKE OF MANCHESTER 


dressed in what evidently is the elaborate costume of his office. The background 
shows two columns at the extreme right. 

No information could be obtained from the present Duke of Manchester as to 
the whereabouts of this portrait. “Dr. Hayes” (see reference to engraving by 
J. Collyer) was John Macnamara Hayes (1750?—1809), an army surgeon, born 
in Limerick, who served with distinction in North America and the West Indies 
during the American Revolution. In 1791 he was appointed physician extraor- 
dinary to the Prince of Wales, and in 1797 was created a baronet and became 
inspector-general of the military department at Woolwich. He married in 1787 
Anne, daughter of Henry White White, one of the council of New York. She 
died in 1848. He was succeeded in the baronetcy by his two sons, respectively, as 
the second and third baronets, and upon the death of the third baronet, the title 
became extinct. Doctor Hayes in 1794 also owned the portrait by Stuart of Francis 
Rawdon Hastings, Earl of Moira. 


ENGRAVED— By J. Collyer, 1794; from the picture then 
In mezzotint, by John Jones, 1790; rectan- “Gn possession of Dr. Hayes.” 

gular frame, 17x 1334 inches. Two states. Not listed in Mason. 

(J. Chaloner Smith, No. 50.) Listed in Strickland. 


( 523 )s 
GABRIEL MANIGAULT 
1758-1809 


E wasa son of Peter and Elizabeth (Wragg) Manigault of Charles- 
ton, South Carolina. He married in 1785 Margaret Izard (q.v.) 
of Charleston. 


New York, 1794. Canvas, 30x25 inches. Half-length, three-quarters right, 
brown eyes to spectator. He wears a powdered wig, black queue bow, white neck- 
cloth, and large white tie. Edge of blue waistcoat shows above a dark brown coat 
with small light brown spots; small brass buttons. The background is of light and 
dark greenish-blue sky, with dark brown clouds. Inscribed on the back of the 


503 


GABRIEL MANIGAULT 
canvas: “Gabriel Manigault || b.1758 d. 1809 || (Stuart pinxit) || 1794.” It is 


an oval, on rectangular canvas. 

Inherited, at the death of Mrs. Manigault, by their son, Charles Izard Mani- 
gault (1795-1874) of Charleston, and then by his son, Louis Manigault (1828— 
1899) of Charleston, and then by his son, Charles Manigault of Charleston and 
Columbia, S. C., who sold it in 1907 to the Ehrich Galleries of New York, who 
sold it in the same year to Mr. and Mrs. John E. Parsons of New York. In 1923 
the Parsons Estate sent the portrait to the Ehrich Galleries, who sold it in the 
same year to the Albright Art Gallery of the Buffalo Fine Arts Academy, Buffalo, 
New York. 


Exuisirepat the exhibition of Early Amer- lished by the Ehrich Galleries, New York, 
ican Portraits, Carnegie Institute, Pitts- 1918, page 108. 
burgh, January 20—March 8, 1925, No. Copies are owned by William H. Grimball, 
29. Esq., of Charleston, and by Mrs. Charles 
REPRODUCED, in half-tone, in “One Hun- Manigault of Columbia, South Carolina. 


dred Early American Paintings,” pub- Courtesy of the Ehrich Galleries, NewYork. 
| [ Illustrated | 


C524 ): 
MRS. GABRIEL MANIGAULT 
1768-1824 


HE was Margaret, daughter of Ralph and Alice (De Lancey) Izard 
of Charleston, South Carolina, and a sister of Anne (q.v.), who 
married William Allen Deas, and of Charlotte (q.v.), who married 
Honorable William Loughton Smith. She married Gabriel Manigault 
(q.v.) in 1785, and lived in Charleston. 
New York, 1794. Canvas, 30x25 inches. Half- Sieh three-quarters left, 
brown eyes to spectator; light brown hair in large curls. She wears a white muslin 
fichu with a low-necked white dress, the neck of which is trimmed with white 


ruffles; a wide blue sash, and shawl of the same color, falling from shoulders. A 
grayish-blue pilaster appears at right, with blue sky at left with dark blue clouds 


504 


MRS. GABRIEL MANIGAULT 


and sunset clouds below. Oval, on rectangular canvas. Inscribed on the back of the 
canvas: “Mrs. Gabriel Manigault || Margaret Izard || nat. 1768 ob. 1824 || 
Gilbert Stuart pinxit || New York 1794. This is the original picture and belongs 
to Louis Manigault the elder.” 

Owned by the Albright Art Gallery of the Buffalo Fine Arts Academy, Buffalo, 
New York, the history of this picture is the same as that of Stuart’s portrait of 
Gabriel Manigault. 


Exuisitepat the exhibition of Early Amer- lished by the Ehrich Galleries, New York, 
ican Portraits, Carnegie Institute, Pitts- 1918, page 109. 
burgh, January 20—March 8, 1925, No. Copies are owned by William H. Grimball, 
30. Esq., of Charleston, and by Mrs. Charles 
REPRODUCED, in half-tone, in “One Hun- Manigault of Columbia, South Carolina. 


dred Early American Paintings,” pub- Courtesy of the Ehrich Galleries, NewYork. 
| Zllustrated | 


( 525 )s 
JOSEPH MANIGAULT 
1763-1843 

H: was a son of Peter and Elizabeth (Wragg) Manigault of Charles- 

ton, South Carolina, and a brother of Gabriel Manigault (q.v.). 
He went to England in 1781 and studied law at the Middle Temple at 
which time he sat to Stuart for this picture, and passed four and a half 
years abroad, principally in Geneva. Returning to the country in 1786, 
he married, first in 1788, Maria Henrietta Middleton (1772-1791) of 
Charleston. He married, second, in 1800, Charlotte Drayton (1781- 
1855) of Charleston, of whom Malbone painted a miniature which is 
now owned by a descendant in Meadville, Pennsylvania. Mason relates 
the following anecdote: In 1821, when Manigault was spending a sum- 
mer in the North, he was stopped in the street by an elderly man who 
called him by name. He expressed surprise and remarked that he was 


585 


JOSEPH MANIGAULT 


entirely unable to identify the stranger, who then told him that he was 
Stuart who had painted his portrait forty years before. 


London, 1781. Canvas, 30x 24% inches. This portrait which, owing to rough 
treatment received during the American Civil War and subsequent restoration, is 
in bad condition, shows Manigault at half-length, three-quarters left, with his 
brown eyes directed to the spectator. His powdered wig is tied with a black queue 
bow and he wears a white neckcloth and stiff shirt frills, a high-collared dark blue 
coat and yellow waistcoat. Plain brown background. The canvas is rectangular in 
shape, but the corners are entirely unpainted. 

At Mr. Manigault’s death in 1843 the picture went to his son Henry Middleton 
Manigault (1811-1883) of Charleston, then to his son Henry Middleton Mani- 
gault (1855-1904) of Charleston, and is now owned by his widow, of Charleston 
and Summerville, South Carolina. 


( 526 ): 


MISS ANNA POWELL MASON 
1789-1861 


AUGHTER of the Honorable Jonathan (q.v.) and Susannah 
(Powell) Mason (q.v.) of Boston. She married in 1807 Patrick 
Grant of Boston (q.v.). 


Washington, 1804. Canvas, 3235x2634 inches. She is shown half-length, 
seated on an upholstered settee three-quarters to the right, with her blue eyes 
directed to the spectator. She wears a white dress with a round neck edged with 
lace, which also trims the short sleeves. A silky shawl is thrown over her left arm, 
which is resting on the back of the settee. Her hands are clasped. Her light brown 
hair, with curls on her temples, is dressed high on her head, and long curls hang at 
the nape of the neck. The background is of neutral tones. 

This portrait was painted in Washington while she and her sister Miriam (after- 


506 


wards Mrs. David Sears) were travelling with their parents from Boston to 
Savannah. Stuart received $200 for this picture and that of her sister. In the diary 
of the Honorable Jonathan Mason, published in Vol. II of ‘Proceedings of the 
Massachusetts Historical Society,” second series, page 17, is the following refer- 
ence: “At Washington (where Mr. Mason and family were from December 25, 
1804, to January 3, 1805), we obtained of Stewart, the celebrated painter, a 
promise to paint two of my girls; and with the intercession of Joseph Russell and 
Dr. (William) Eustis, he finished the heads of Anna and Miriam, and flattered 
them with perfect likenesses.” 

For several years this portrait was framed with an oval mat which completely 
hid the arms, and was heavily varnished. Upon the removal of the varnish, how- 
ever, the beautiful soft tones were revealed. 

Owned by her son, Patrick Grant (1809-1895) of Boston. At his death, when 
the family portraits were divided, this portrait went to his son, Henry Rice Grant, 
brother of Judge Robert Grant, and a grandson of the subject. The picture hangs, 
together with that of Patrick Grant (q.v.), in the house of Judge Robert Grant 
in Boston. 


EXxHIBITED— 

(As portrait of Mrs. Patrick Grant) at the held at Copley Hall, Boston, March 
exhibition of Stuart’s portraits, Boston, II-31, 1895. 
1828, No. 52. (As portrait of Mrs. Patrick Grant) at the 

(As portrait of Mrs. Patrick Grant) at the Rhode Island School of Design, Provi- 
“T_oan Collection of Portraits of Women” dence, R. I., in 1914. 


( 527 )s 
MISS ANNA POWELL MASON 
1789-1861 


Panel, 3214 x 2614 inches. Half-length, seated three-quarters to the right in an 
Empire armchair, with her dark blue eyes to the spectator. Her light brown hair 
with curls on her forehead and temples is dressed high with a comb. She wears a 
low-necked white muslin dress with high waist and short puffed sleeves. A white 
dotted lace shawl hangs over her left shoulder and falls across the left arm on to 


bey 


MISS ANNA POWELL MASON 


her lap and appears behind her and over the right arm of the gilt chair, upholstered 
in raspberry-red velvet. Plain, cool, grayish background, becoming earthy browns 
in the shadows. 
Owned by Morris Gray, Esq., of Boston, who inherited it from his wife, a 
granddaughter of the subject. 
[ Zllustrated | 


-( 528 ) 


JEREMIAH MASON 
1768-1848 


E was a son of Colonel Jeremiah and Elizabeth (Fitch) Mason of 

Lebanon, Connecticut. He was graduated at Yale University in 
1788, removed to Vermont in 1791, then to New Hampshire, and 
was a prominent lawyer of Portsmouth from 1798 to 1832. In 1799 
he married Mary Means (q.v.) of Amherst, New Hampshire. From 
1813 to 1817 he was United States Senator from New Hampshire, and 
in 1832 he removed to Boston. 


Boston, c. 1815. Panel (s), 32x 2534 inches. He is shown seated, three-quarters 
right, his brown eyes directed to the spectator, in a gilded Empire armchair uphol- 
stered in red. He has a ruddy complexion, brown hair and sidewhiskers, and a 
plump face. He wears a dark brown coat, and white neckcloth and muslin tie. His 
right hand, resting on his lap, holds a book into which his index finger is thrust. 
The plain background is of warm tones. The picture suffered from the effects of 
fire. 

The portrait was owned by James Mason Crafts (1839-1917) of Boston, a 
nephew of Robert Means Mason and grandson of the subject, and was, at his death, 
inherited by his daughter, wife of Gordon Knox Bell, Esq., of New York City. 
REPRODUCED, in photogravure, in “The Writings and Speeches of Daniel Webster,” 1903, 

Vol. 4, facing page 178. 
[ Zllustrated | 


508 


ADDITIONS AND CORRECTIONS 


VoLuME | 


Page 48. Ineleventh line from the bottom, for D’Yrugo read D’Yrujo. 
108, No. 27. Mrs. Joseph Anthony, Jr. This portrait is listed in Mason. 


cc 


ce 


(<4 


158, No 


198, No. 





411, No 
412, No 
413, No 
414, No 
430,.No 


439, No 


Laiehee 


P23. 


. 264. 
Yo. 265. 
P2006, 
2207. 
. 268. 
.269. 
20 Ps 
a2 50; 


SALTS 
<At 2 
cA. 
SATA. 
PA 2 


aA Ts 


136, 


Mrs. Samuel Blodget. For illustration see frontispiece, 
Volume IV. 

John Callender. Add Reproduced, in photogravure, in 
George C. Mason’s “The Life and Works of Gilbert Stuart,” 
1879, facing page 83. 

Humphrey Devereux. On line two from the bottom read 
a signer of the Declaration of Independence. 

Marqués D’Yrugo 

Marqués D’Yrugo 

oS pues Read D’Yrujo. 

Marchioness D’Yrugo 

Marchioness D’Yrugo 

Marchioness D’Yrugo 

Samuel Fales. Add [Illustrated |. 

Mrs. James Greenleaf. For A third portrait read A fourth 


portrait. 

Chancellor Sir Beaumont Hotham 

General George Hotham Add 

Doctor John Hotham Not listed in Mason. 


Admiral William Hotham 

Mrs. William Jackson. For illustration see frontispiece, 
Volume II. 

Thomas Jefferson. For illustration see frontispiece, 


Volume ITI. 

















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